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A 



FOOT-POWER LOOM WEAVING 



BY 



EDWARD F. WORST 

Supervisor of Elementary Manual Training and 
Construction Work, Chicago, 111. 




The Bruce Publishing Company 
milwaukee, wis. 



Copyright, 1918 

by 
Edward F. Worst 



OCT 2B 1918 

©CI.A503972 






\ 



<^ 



INTRODUCTION 




HE suggestions offered in this manual are for those who believe that the more ad- 
vanced weaving should be pursued as a most wholesome occupation and that it 
should again, in the near future, find a place not only in the school but also in the 
home. Few lines of occupation furnish more excellent opportunity for color com- 
bination and design than does the craft of weaving. 

Girls taking the various household-arts courses will find weaving a great aid in under- 
standing the structure of a piece of cloth. 

The work is so full of possibilities and the results obtained have such a wonderful effect 
on the character of the worker that these alone afford ample reasons why weaving should be 
carried on in both school and community. 

The descriptions given are for the amateur weaver who will find them more easily under- 
stood than those given in the more technical books on the subject. 

It is hoped that those interested will find help through the suggestions offered in this manual. 

EDWARD F. WORST. 



Table of Contents 



CHAPTER I 

THE LOOM, WARPING AND THREADING — Loom Weav- 
ing — The Construction' of Plain Cloth — The Essential 
Parts of a Loom — Preparing a Long Warp — Construc- 
tion of Warp Board — The Warp Board in Use : — Taking 
Off the Warp — The Warping Reel — Alternate Method 
of Warping Four Threads — Keeping Account of Threads 
Warped — Warping a Number of Threads at Once — 
Turning On, or Beaming — The Warp Spreader or Raddle 
— Laying in Sticks — Knotting the Heddles — Heddle 
Sticks — Threading the Loom — The Reed — Threading 
the Reed — Placing the Reed — Tying the Loom — The 
Cloth Beam — The Shed — The Small Shuttle — The 
Bobbin Winder — The Temple — The Reel 7-42 

CHAPTER II 

PATTERN WEAVING — Rag Rugs — Introducing Color — 
Plaids — Pattern Weaving — Beginning the Threading — 
Threading the Reed — Tying the Heddle Sticks — Tying 
Heddle Sticks to Treadles — Weaving the Pattern — 
Weaving a Border — Second Change in Pattern — Checked 
Paper — Adaptations of Patterns — Rose Path Pattern — 
Threading for the Rose Path Pattern — Weaving the Pat- 
tern — Fine Threads Used for Warp — The Lambs 43-58 

CHAPTER III 
COLONIAL PATTERNS — Reading a Pattern Draft — The 
Big Diamond Pattern — The Tie-Up — Weaving the Pat- 
tern — Double Snowball Pattern — Where to Begin the 
Threading for Large Patterns — Block Work Pattern — 
Chariot Wheel Pattern — The Orange Peel Pattern — 
Governor's Garden — Bonaparte's March Pattern — Weaving 
Borders — Snail's Trail Pattern — The Blooming Flower 
Pattern — Pine Knot Pattern — Federal Knot Pattern — 
Wheel of Fortune Pattern — Irish Chain Pattern — The 
Tie-Up of Irish Chain — Rings and Chains — Old Quilt 
Pattern — Miscellaneous Patterns — Wind Flower Pattern 
—Whig Rose Pattern 59-100 



CHAPTER IV 

DANISH AND NORWEGIAN WEAVING — Expressing Dan- 
ish Patterns — Reading a Danish Draft — Tying the 
Treadle — Danish Patterns 101-105 

CHAPTER V 

SWEDISH WEAVING — Swedish Way of Writing a Draft — 
Irregular Threading — Three-Harness Draft — Eight- 
Harness Pattern — Heddle Frames — Tie-Up for Two Sets 
of Lambs — Six-Harness Pattern — Six-Harness Loom — 
Eight-Harness Loom — Miscellaneous Swedish Patterns. .106-150 

CHAPTER VI 

DAMASK WEAVE — Double Weave — Damask Weave — 
Threading the Reed — ■ Tie-Up — Ten-Harness Tie-Up — 
Table Mat — Rug Weaving in Wool — Operation of 
Treadles — Double Weaving — Threading Double Weave 
Pattern 107-165 

CHAPTER VII 

TEXTILES AND WOOD — Combinations of Textiles and Wood 

—Foot Stool— Waste Basket— Screens 166-174 

CHAPTER VIII 

DESIGN AND CONSTRUCTION OF LOOMS — Danish 

Looms — Swedish Looms 175-182 

CHAPTER IX 

DYES AND DYEING — Utensils Used — Washing of Wool — 
Water Used in Washing — • Mordant — Formulae for Dye- 
ing — Yellows — Reds — • Preparation of Olium — Blue 
Dyes — Green Dyes — Violet Dyes — Violet With Cochi- 
neal — - Violet With Cochineal, or Madder — Brown Dyes — 
Gray Dyes — Black Dyes — Further Use of Used Dye 
Liquids — Yellow After Dyes — Red After Dyes — Blue 
After Dyes — Violet After Dyes — ■ Green After Dyes — 
Dyeing of Old Goods — Bleaclaing Woolen Goods — Hand 
Measures 183-208 



Foot -Power Loom Weaving 



CHAPTER I 
The Loom, Warping and Threading 



Loom Weaving 

Notwithstanding the introduction of the power 
loom and all its wonderful possibilities, the hand 
loom still survives and seems likely to continue in 
use since numerous schools and handicraft societies 
as well as many independent art workers are becom- 
ing interested. This gives hope that at some time 
in the near future the domestic occupations of weav- 
ing and spinning in both flax and wool will again 
find a place, not only in the home but also in the 
studio and in the industrial school. The apprecia- 
tion of handwork has, during the past decade, in- 
creased in the estimation of the public. 

In various European countries, as well as in 
India, China and Japan, hand loom weaving still 
continues. In Norway and Sweden a very success- 
ful line of home industry is carried on to great ad- 
vantage to many women who find it necessary to 
aid in the family support. This may also be said 
of the women in the Orkney and Shetland Islands. 



Of late much has been written of the beautiful 
hand-weaving done by the women in the moun- 
tains of Kentucky and Tennessee. So attractive is 
this work that little difficulty is experienced in 
disposing of the articles woven. 

Since the introduction of machine spinning and 
weaving, no home industry which approaches them 
in usefulness or interest has taken their place. It 
is true that there are many lines of weaving now pro- 
duced by the machine, too intricate to be attempted 
on the hand loom, but the weaving of linen, cotton, 
woolen and the coarser silk threads into materials 
of strength and beauty for home use, can quite well 
be carried on in the studio and even by the home- 
maker who has other household occupations. 

There is no doubt as to the superiority of a well 
made, hand-woven article. This is plainly shown 
if the hand-made and the machine-made articles are 
compared. Hand loom weaving, too, is superior 
to machine weaving if judged by the effect it is 



likely to have on the worker. The hand weaver is 
employed in a pleasant, ingenious occupation which 
exercises all his faculties, while the attendant on a 
power loom is engaged in a monotonous toil in which 
no quality but intense watchfulness is required. 

The object of this manual on weaving is to give 
to the amateur weaver the benefit of the author's 
experience in preparing the fibers, the warping 
and the threading of the loom for plain weaving, as 
well as learning to interpret and to execute various 
pattern drafts used in our own country and in 
other countries. 

Through the exercises given it is hoped the 
weaver may be led to invent and to work out many 
interesting and original designs. 

The Construction of Plain Cloth 

If a piece of plain cloth is examined it will be 
found to consist of a number of longitudinal threads 
placed side by side and interlaced by a continuous 
single thread. The latter thread passes alternately 
above and below or before and behind the longi- 
tudinal threads. Fig. 1 shows the arrangement of 
the longitudinal threads and the continuous thread 
crossing and intersecting them. 

The longitudinal threads of a piece of woven 
material are always called the warp. They are so 
named, because, in order to allow their being inter- 




Fig. 1 — A Piece of Plain Cloth 



sected conveniently by the continuous crossing 
thread they have to be warped, that is, tightly 
strained in position on some kind of frame prepared 
for the purpose. The continuous crossing thread 
has several names, such as weft, woof, or shoot 
(shute) . 

If the warp threads are carefully examined 
they will be found to consist of several fine threads 
twisted together. This is done to give added 
strength. The weft may be single and the thread 
only slightly twisted, as this makes it soft so the 
warp and weft are easily pressed together into a 
firm material. 

The weaving of mats and baskets from local 
materials and from raffia, reed and willow may be 
done without any special appliance for holding or 
stretching the material while it is being woven. 

When fine thread is to be woven the problem 
is very different, and it becomes absolutely necessary 
to devise some kind of frame to hold and stretch 
the warp upon, so that the weft may be readily 
interlaced with it. The more elaborate frame con- 
structed for this purpose has by universal consent 
been called a loom. 

The Essential Part of a Loom 

In all the ancient pictures of looms the stretched 
warp threads are shown and the insertion of the 




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Fig 2 — Simple Loom 

weft threads is suggested; but the lease, the one 
universal and indispensable contrivance used in 
weaving, has been omitted. While not shown, it 
must have been there, for no loom could be operated 
without it. 

Fig. 2 illustrates the three steps in the con- 
struction of a simple loom. The construction is 
similar to the looms made by the pupils of the 
lower grades. 

Fig. 2, "A" shows the loom without the 
thread. 

^'B" shows the warp threads wound upon it 
lengthwise. 



10 



"C" shows the strings on the board intersected 
by two rods, "D," in such a way that alternate 
strings go over and under each rod. In the space 
between the rods the alternate strings cross each 
other in regular succession. While the rods ''D" 
are kept in their position in the warp it is impossible 
for the threads to get out of place or to get hope- 
lessly entangled, as they certainly would if any 
great number of threads were used. 

This cross is called the lease and is really the 
one indispensable part of the loom. No two looms 
may be alike in any other respect but in the case 
of the lease. One cannot dispense with this simple 
yet perfect contrivance for keeping the warped 
threads in order when a long warp made up of 
hundreds of threads is required. 

Preparing a Long Warp 

A warp longer than the loom cannot be made 
upon the loom as was shown in A, B, C, Fig. 2. 

This being true, some sort of apparatus must be 
constructed on which to build up a series of threads 
of exactly the required length and number of threads. 
These threads must be held in exactly the same ten- 
sion so that when transferred to the loom and 
stretched between its front and back beams they 
shall give the weaver as little trouble as possible 
with loose threads. 



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Fig. 3 — Use of Warping Board 

This process of preparing the threads is called 
warping. There are several ways of doing the 
warping. 

Construction of Warping Board 

Fig. 3 shows the construction of a warping 
board. On this board may be warped a moderate 
number of threads, such as would be required for 
a foot-power loom. The warping board makes it 
possible to illustrate perfectly the principles of 
warping. 



The board sho\^Ti in Fig. 3 (1, 2 and 3) is six 
feet long by one foot wide. It is made to hang 
firmly on a wall at such a height from the ground 
that the operator can reach to any part of it without 
difficulty. 

On a board, the size indicated in Fig. 3, a warp 
ten yards in length may be warped. A longer 
length may be warped either by increasing the length 
of the board or by increasing its width and adding 
to the number of pegs. The pegs should be made of 
hard wood not less than six inches long and one inch 
in diameter. 

The pegs marked A and E must be movable, 
perfectly smooth and have nicely rounded ends. 
The space between A and B should not be less than 
one foot, and the space between B and C, six inches. 
The space between D and E should also be one 
foot. (No. 1, Fig. 3). 

The Board in Use 

Let the problem at hand be to make a warp of 
thirty threads ten yards long. 

Place a spool of ordinary four-ply carpet warp 
on end in a receptacle of some kind in order that the 
thread may freely unwind. If a spool rack may be 
conveniently had the spool may be slipped on to 
one of the rounds of the rack. Tie the free end of 
the spool of warp to the movable peg A, No. 2, 



11 

Fig. 3. Guide the thread under peg B and over 
peg C. Then follow the dotted line, as sho^^^l in 
No. 2, Fi^. 3, by allowing the thread to pass outside 
the pegs 1, 2, 3, back to 4, then to pegs 5, 6 and 7, 
until it reaches peg D, which it goes under. Carry 
the thread now over and under peg E, and then 
begin its return by carrying the thread over D, 
No. 3, Fig. 3, on to peg 7 (see dotted lines) and so 
back in the same course, until we again reach peg 1. 
It must now be taken below C, over B, and below A 
(see dotted lines). This completes one course. The 
warping board should now look like No. 3, Fig. 3, 
with the threads crossed between pegs B and C, 
and D and E. Two threads have now been warped, 
having a length of ten yards between the crosses. 

The second thread having been carried around 
and over peg A, went under B and then followed 
exactly the course of the first thread until it reached 
E. Then, following the second thread back it reaches 
A, goes under and over the peg, and four threads 
out of the thirty are warped. By the time fifteen 
forward and fifteen backward journeys are made the 
sample warp of thirty threads is finished and may 
be taken from the board as soon as the crosses have 
been made secure. 

One can readily understand by the above ex- 
planation that a great amount of time would be 
consumed in making a warp by handling one thread 



12 

at a time. Since four-ply carpet warp is to be 

used for the first warping, four spools may be 

placed on the spool rack, the four ends tied to the 

proper peg at one time and then the course pursued 

with the four threads, as was described for only one 

thread. This causes four threads to pass under and 

over the pegs instead of one. On account of the 

coarseness of the warp there is little or no danger 

of the threads becoming tangled. A more detailed 

explanation of running more than four threads will 

be given later. The above, however, works very 

successfully. 

Securing the Crosses 

The important matter of securing the crosses 
is easily done, but if forgotten the warp will be 
spoiled when it is removed from the board. 




Fig. 4 — Securing the Crosses 

Fig. 4 shows clearly the way it is done. The 
letters indicate the pegs of the warping board, the 
heavy lines are the threads of a warp, which may be 
of any number of threads. 

The important crosses are shown between C 
and B and between D and E. A thin, pliable cord 



about two yards long is now drawn in at each cross 
from the back to the front, through the openings in 
front of the pegs. Tie the ends of the cord as shown 
in Fig. 4. By this means the crosses are perfectly 
secured. 

It will be observed that there is another cross 
in the warp between B and A. This is not so im- 
portant. A short cord may be drawn through the 
loop at peg A, and the threads may be tied all to- 
gether. 

The warp may now be removed from the board 
and made into what is called a chain. 

Taking Off the Warp 

The warp is taken off the warping board for 
convenience in transferring it from the board to 
the warp beam of the loom. 

The crosses having been made secure, the warp 
is ready to be removed from the board. The long 
strings between the crosses may be wrapped around 
the warp to prevent them from hanging in the way. 

First remove the peg A, Fig. 5. Allow the warp 
to slip from the other pegs, B and C, and also No. 
1, Fig. 5. Hold the warp with the left hand about 
two feet from the end. While the warp is being held 
with the left hand, throw the end over the warp 
with the right hand, as shown at F, Fig. 5. 



13 








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Fig. 5— Taking Off the Warp 



This makes a kind of loop. Witli the left hand 
still holding the warp, the right hand is put through 
the loop at G, Fig. 5. The warp is grasped and drawn 
through the loop far enough to make a second loop, 
held by the right hand. The left hand is now free 
and is put through the new loop held by the right 
hand. The warp is grasped and drawn through the 
new loop thus making a third loop held this time 
by the left hand. The right hand being free is put 
up through the third loop, the warp is grasped and 
drawn through the loop. This is continued until 
the entire warp has been removed from the board. 



The process of taking off the warp will be rec- 
ognized as the same as making a chain stitch in 
crocheting, the hands doing the work instead of a 
hook. See Fig. 6. 

Before placing the warp, which may now be 
called a chain, on the warp beam of the loom, another 
method of warping wih be considered. 

The Warping Reel 

The use of the warping reel, sometimes called 
the warping mill, somewhat simphfies the process of 
warping. Fig. 7 shows a working drawing of a warp- 
ing reel, and Fig. 8 shows the finished reel. 




Fig. 6 — Chain made with warp fronn warping board 



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It will be observed that the pegs appear on the 
cross bars of the finished reel marked A, B, C, 
and D, E, the same as on the warping board. The 
distance between the upright posts of the reel is 
27 inches. The spools of warp are placed as when 
the warping board was used. Some sort of a spool 
rack is almost indispensable. Yet any convenient 
way of arranging the spools so the thread will freely 
unwind, will answer the purpose. Fig. 9 shows the 



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working drawing of the spool rack and Fig. 10 
shows the finished rack. 

Supposing that four threads are to be warped 
at one time. The four ends are all tied at one time 
to peg A, Fig. 11. They are carried under B and over 
C and then start on their way around the reel, the 
threads being guided on their way to pegs D and E 
b}'^ the left hand while the reel is turned by the right 
hand. The person performing the work remains 





A B C 

Fig.'^ll — Method of Starting Threads 




D H 

Fig. 12 — Threads Passed over Lower Pegs 




Fig. 9 — Working Drawing of Spool Rack 



Fig. 10 — Spool Rack 



A E) C 

Fig. 13 — Another Method of Starting Threads 



16 

stationary. On reaching peg D the group of four 
threads is carried over it, under and around E and 
back under D, as shown in Fig. 12. From here the 
threads start back toward pegs A, B and C, passing 
under C, over and under and around A, under B 
and over C, as in the beginning. 

The reel measures 27 inches between posts. 
Passing around the reel once is equal to three yards 
of warp. Knowing this, makes it an easy matter 
to measure off any number of yards. 

Another Way to Begin With Four Threads 

The four threads may be tied together and 
slipped on to peg A, two threads being on top of the 
peg and the other two below. Bring the two threads 
which are below A, over B, and the two above 
A, below B. Allow the two below B to pass over C 
and bring the two above B so that they pass below 
C, Fig. 13. From this point the four threads are 
guided around the reel just as above described. The 
four threads pass over and under D and E, as shown 
in Fig. 12. On their return to peg A the four threads 
pass under the pegs the two went over, and over the 
pegs the two went under, and the warping proceeds in 
the same manner as when using the warping board. 

Keeping Account of the Number of Threads Warped 

As soon as the threads have crossed a few times 
between pegs D and E, it will be found difficult to 



remember how many threads are gathered together 
on the pegs. It becomes necessary to use some de- 
vice for keeping count in order to know when the 
warp is completed. 

This account can be easily kept if a piece of 
cord or tape is used. 

After the group of four threads passes between 
pegs D and E five times, draw one end of the cord 
or tape through the opening next to peg D and the 
other end through the opening next to E, as shown 
in Fig. 14. 




Fig. 14 — Keeping Account of Threads Warped. 

The warping continues until five more groups 
have been warped or reeled, as the process is some- 
times called. The end of the colored cord or tape 
marked ''f," Fig. 14, is now passed through the 
opening next to peg D, and the end of the cord or 
tape marked ''e" passes through the opening next 
to peg E, thus making a cross in the cord or tape 
between the first group of five and the second group 
of five. As there are twenty threads in each group 
the worker knows that the warp contains forty 
threads. This is continued until the required num- 
ber of threads has been reeled. 



17 



The cross at the beginning and the one at the 
end of the warp are now secured in the same way as 
when the warp is made on the warping board. 

Removing the Warp from the Reel 

Peg A is removed and the warp is sHpped from 
pegs B and C. A chain is made the same as when 
removing a warp from the warping board. See 
Fig. 15. 

To Warp a Number of Threads at Once 

If only four or six threads are warped at a time 
these may easily be carried and placed over and 
under the pegs in a group. It will be learned a little 
later that, when the lease rods are placed, either four 
or six threads, according to the number warped at 
a time, will pass over and under the rods at one time. 

When eight, ten, twelve, or sixteen threads are 
warped at a time the problem is somewhat more 
complicated and should be done in such a way as to 
bring alternate threads over and under the lease 
rods. This arrangement of the threads makes the 
threading of the loom easy and keeps the threads 
from becoming snarled or twisted one with another. 
Arrange the spools on the spool rack, as shown in 
Fig. 16. 

A paddle-shaped piece of |" or 3-16" basswood 
is cut as shown in Fig. 17, to serve as a guide. Any 
number of holes may be bored. Sixteen is usually 






Fig. 15 — Removing the Warp from the Reel 



18 




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Fig. 16 — Spools on Rack Fig. 17 — A Paddle 

the greatest number for the amateur. The ends of 
the threads coming from the spools on the left side 
of the rack and all unwinding in the same direction 
are threaded through the holes in the left side of 
the guide, Fig. 17 A, and the ends coming from the 
spools on the right side of the rack are threaded 



through the holes in the right side of the guide, 17A. 
The ends are now all gathered together and tied in 
one knot and shpped over peg A of the warping reel, 
four threads being on top and four below the peg, 
the threads fixed to peg A, Fig. 17A. The guide is 
held in the left hand in an upright position so the 
threads are well separated. With the first finger 
and thumb of the right hand the threads (warp) 
must be crossed. This is done by placing the first 
finger of the right hand on the lowest thread on the 
right side of the guide and pressing it downward, 
Fig. 18. The thread just pressed down passes under 
the finger and over the thumb. With the thumb 
press down the lowest thread on the left side of 




Fig. 17 A— Method of Using Paddle 




19 



Reeling Eight Threads with Paddle 



20 




Fig. 18 — First Thread Pulled Down Fig. 19— Second Thread Pulled Down 

the guide, Fig. 19. This thread passes under the 
thumb and over the finger. Allow the finger to press 
down the second thread on the right side of the guide. 
This thread now passes under the finger and over the 
thumb. With the thumb press down the second 
thread on the left side of the guide, Fig. 18. This is 
continued until all the threads are crossed on the 
finger and thumb of the right hand. This cross is 
transferred to the pegs. When placed on the pegs 
B and C, it will be found that there is a crossing of 
alternate threads. The eight threads are now held 



in one group and carried around the warping reel 
until the pegs at the other end are reached. The 
group of threads are carried over and under the pegs 
the same as was described with the warping board 
when only one or four threads at a time were warped. 

Turning On, or Beaming 

At the present time the warp is in a long chain 
ready to be placed on the loom in such a way as to 
make it possible for the weaver to produce a piece 
of cloth. To do this the ends at E must be attached 
to a roller, (in this case the warp beam) and spread 
out and wound evenly and tightly upon it. The warp 
beam fits into the back of the loom frame, as shown 
in Fig. 20. 

For demonstration, suppose that the cloth 
to be woven is 22 inches wide and there are to be 24 
threads to each inch. The warp then contains 528 
threads, and this number is made up of 66 groups of 
eight threads each. It will be remembered that 
count was kept of the groups by means of the cord 
or tape between the pegs D and E while the warp- 
ing was in progress. 

The Warp Spreader (Raddle) 

Fig. 21 shows a working drawing of the spreader, 
also called raddle. 

Fig. 22 shows the drawing of the finished 
spreader with the top removed. 



21 




Fig. 20 — Loom with Parts Named 



22 



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Bill of Material 



e Piece: 4. 5 



Name 



leosht Width 



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The spreader is most simply described as a comb, 
with a movable cap to cover the ends of the teeth. 
The frame is made of wood. The teeth may be made 
of dowel rods or hard wire. Nails have sometimes 
been used. 



The cap is deeply grooved above the teeth and 
has holes near the ends. Through these holes the 
sides of the frame pass in order to fix it on, as shown 
in Fig. 22. 

A loom fully equipped has in the equipment a 





o 

° nfififinnfinfifinfinfinfifionnnnnfinnnnfiiinfifKiMPnM 


0^ 

o 









Fig. 22 — Warp Spreader with Cap Removed 



couple of rods, one to be used in placing the warp 
on the beam. 

With the chain at hand and taking the end 
which when on the reel was between D and E, push 
a rod through the opening marked "A," Fig. 23. 
Untie the cord which held the cross and allow it 
to remain on the other side of the crossed threads, 
as sho"wii in B, Fig. 23. Tie the ends of the cord to 
the ends of the rod, as shown in Fig. 23, C and D. 
By so doing the cross is retained. The rod may now 
be tied to the warp beam. A provision is always 
made for this tying. In the old colonial looms, 
holes are bored; the same is true of the Swedish type, 
while the Danish looms have a groove ploughed 
in the beam from end to end into which a smooth 
wooden or metal stick is placed to hold the warp to 
the beam. 




Fig. 23 — Method of Keeping the Cross 



23 

From the front of the loom remove the beater, 
sometimes called the batten, the breast beam and 
the harness, Fig. 20. This makes a free opening 
from the front to the warp beam. 

Tie the rod shown in Fig. 23 to the warp beam 
with No. 16 blocking twine. This fastens the chain 
to the beam, but in order that it may be placed on 
the beam evenly the groups of thread must be dis- 
tributed in the warp spreader. Place the spreader 
under the chain and on a level with the warping 
beam. To hold the spreader in this position it may 
be tied to the upright parts of the loom, or it may be 
held by two persons, one at each side of the loom. 
Fig. 24 shows the spreader in place. With the top 
of the spreader removed the groups of thread may 
now be distributed in their regular order. Since 
there are 528 threads in all and eight threads in each 
group, there will be exactly 66 groups. There are 
to be 24 threads to each inch. This means that 
three groups of eight threads must be placed to the 
inch. This will occupy three spaces on the spreader. 

By means of the cross the groups of thread may 
be used in their regular order and placed in the 
spaces of the spreader. When this is completed the 
cap is placed and fastened, and the warp is ready 
to be beamed. 



24 





'i 



Fig. 24 — Spreader in Place on Loom 



One person holds the chain and the other turns 
the beam, by placing a peg into one of the holes at 
the end of the beam, as shown at A, Fig. 24. 

Laying in Sticks 

As the warp is being wound on to the beam, 
thin strips of wood about 3-16" in thickness are laid 
on the beam for the warp to wind on. This prevents 
the warp from becoming tangled and also keeps the 
warp even across the entire beam. Strips such as 
are used in the bottom of shades are good for this 
purpose. After four or five yards of warp are wound 
on to the beam, lay in more strips. 

A stand may be made to hold the spreader, 
as shown in Fig. 25. Fig. 26 shows the warp dis- 
tributed. After the warp is distributed the cap is 
placed, thus holding the groups of threads securely 



in their proper spaces. The spreader, warp, and all 
may now be transferred to the loom, and the warp 
may be put on as above described. 

The beam is turned until the other end of the 
chain or warp is reached. Care should be taken to 




Fig. 25— Stand to Hold Spreader 



25 




Fig. 26 — Warp Distributed 

hold the warp firmly while the winding is done. The 
chain unravels as it is wound on to the beam. When 
the opposite end is reached the cross which was so 
carefully guarded at the pegs A, B and C is reached. 





Into these openings the lease rods are placed, as 
shown in Fig. 27. 

The warp spreader may now be removed. 





Fig. 27 — Lease Rods in Place 



Fig. 28 — Loops Hanging Over Lease Rods 

Later the loops are cut, causing the ends to 
hang instead of the loop, as shown in Fig. 28. These 
ends may be tied in bunches in a loose knot, thus 
preventing them from losing their places in passing 
under and over the lease rods, Fig. 31. 

Knotting the Meddles 

The warp placed on the beam, it now becomes 
necessary to consider the knotting of heddles or 
leashes, as they are sometimes called. In order that 
each heddle may be of exactly the same size, a heddle 
frame is constructed about 12 inches by 1^ inches 
by 3 inches, shown in Fig. 29. The pegs are num- 
bered a, b, c and d. About 1\" from each end a peg 



26 



CP 



4) 4) 



(t) 




Fig. 29 — Working Drawing of Heddle Frame 




Fig. 30— Method of Tying Heddles 



is placed and in the center two pegs are placed one 
inch apart, Fig. 30. The pegs should be rounded 
at the top and well sanded to make them perfectly 
smooth, thus causing the heddles to slip off easily. 

The ordinary four-ply carpet thread is a fairly 
good material to be used in heddles. Sometimes 
linen thread is used and sometimes a hard twisted 
cotton, called seine twine, used in fish nets, is 
utilized. The twine is cut long enough in order that 
it may be looped around a. Fig. 30. Tie a knot at 
b and another as shown in c. The ends are 
then tied at ''d." From 25 to 50 may be tied before 
removing them from the pegs. There must be as 
many heddles as there are threads in the warp. 
Heddles found in the market are made of wire. 
These may be successfully used. 

Heddle Sticks 

In most foot-power looms the heddle sticks are 
used instead of the heddle frames. Fig. 31 shows, 
at A, heddles on the sticks. The harness, which 
consists of the various heddle sticks on which the 
heddles have been placed, is now hung in the position 
as shown in Fig. 31. The person who is to do the 
threading sits in the front of the harness. 

Threading the Loom 

The harness consists of two sets of heddles, one 
directly back of the other, as shown in Fig. 31. 



27 




Fig. 31 — Heddles in Place for Threading 



The threading of the first loom will be for plain 
weaving, such as may be used in rugs. The one 
who is to thread the loom has comfortably seated 
himself in front of the harness in Fig. 32. First a 
heddle on the front sticks is pushed along. The 
first thread is picked up and the end is threaded 
through the eye left for this purpose in the heddle. 
A heddle is now taken from the back sticks and the 
second thread is picked up and placed in the eye of 



the heddle. After being threaded it is pushed along, 
another heddle from the front sticks is picked out, 
and the third thread is put through the opening. 
It now is pushed along and a heddle from the back 
sticks is picked out and threaded with the fourth 
thread. 

This is continued until all threads have been 
used. The heddles must be so placed on the sticks 
that each one may be slipped along without inter- 
ference from any of the others. When four threads 
pass over and under the lease rods at one time the 
threads should be taken in their regular order as 
nearly as possible. Four threads going either 
over or under are threaded before taking the next 
four. If the threads are crossed, as shown in Figs. 
18 and 19, one passing over and the other under the 
lease rods, they are threaded in their regular order. 

Threading the heddles is of the greatest import- 
ance, as one mistake will throw out the whole suc- 
cession of remaining threads. If the heddles are 
of string the threading may be done with the fingers 
only, but if the heddles are of wire it will require a 
heddle hook to draw the threads through the eyes. 

The Reed 

The reed is the long comb-like piece of apparatus 
which fits in the beater or batten and aids in pushing 
or pressing the woof in its proper place. Fig. 33. 
The spaces in the reed are usually termed "dents." 



28 




If 



i 



Fig. 32— Threading the Heddles 



■Aiiiiiiita 



29 



Fig. 33— The Reed 

Reeds are sold by number. For instance, a 
number 12 reed means that there are 12 openings 
or dents to the inch. A number 15 reed means that 
there are 15 dents to the inch, etc. 

Threading the Reed 

The threads having been, drawn through the 
heddles are now ready to enter the dents of the 
reed and must again enter in their regular order. 
The threads must not be allowed to cross one another. 
In ordinary rug weaving one thread enters each dent. 
To do this the reed is hung just in front of the 
harness, as shown in Fig. 34. By means of a reed 
hook the threads are drawn through the dents in 
their regular order, care being taken to use each 
dent. If a selvage is desired two threads at one time 
are drawn through the first four and the last four 
dents of the reed. The reed is often longer than the 
cloth to be woven is wide; when this is true, plan to 
have the threads occupy the center part of the reed, 
leaving the surplus at each end. If a single dent 
should be omitted the weave cannot be perfect. 
The reed hook may be made of a piece of thin wood, 
as shown in Fig. 35. In threading'the reed the hook 




Fig. 34 — Reed in Position for Threading 

is pushed through the dents from below, catching 
the thread and drawing it downward through the 
opening. If the wooden hook as shown in Fig. 35 
is used, it may be pushed into the dent from above, 
and the thread may be placed on the reed in such a 
position as to be drawn through when the hook is 
pulled from below. After a number of threads has 
been entered they are tied into a bunch. This is 
done partially for safety, as the reed may slip in 



30 

some way from its position and drop to tlie floor, 
thus causing tJie threads to shp from the dents. 

Placing the Reed 

For convenience in threading, the harness and 
reed are hung close to the warp beam, as in this 



position the weaver can sit in a comfortable position 
while doing the threadiag. 

The threading having been completed the 
harness and reed are brought forward. The batten 
is hung and the reed put in its proper place in the 
batten, as shown in Fig. 36. 




Fig. 35— Reed Hooks 



Fig. 36 — Loom Ready for Tying Up 



The loom is now ready to be "tied up." This 
process is called "gating the loom." 

Tying the Loom 

Before beginning the tying-up process it is of 
great importance that the weaver understand some 
simple way of using a slipknot, as the process of 
tying up requires a great deal of adjusting. It is 
usual to tie up with double cords, as these always 
terminate either in a loop or two ends, both of which 
are necessary for the adjustable slipknot. The loop 
for the slipknot is made at the end of the looped 
cord, as showTi at A, Fig. 37. The finger and thumb 
reach up and grasp the double cord at "A," Fig. 
38. The double cord is now dra^^^l through the 
opening marked "B," as shown in Fig. 39. Through 
the loop thus made the two ends of the cord are 
passed, Fig. 40. Fig. 37, A, B, C, and D show in 
the successive steps the way the knot is made. 

A shows simply the loop and ends. 

B shows the ends drawn through the loop. 

C shows the ends dra\^^l through the loop and 
a single knot tied with them. 

D shows the single knot tied and drawn down 
to the loop. 

By using the above method for tying, the cords 
may be shortened or lengthened, as the case may be. 

3 



31 

By pulling the two ends of the single knot the latter 
is dra\\Ti close to the loop. It will be found that the 
knot will not give way no matter what the weight of 
the pull may be. If the cord is to be lengthened 
the knot is loosened and the cord is adjusted. 




Fig. 37— Method of Tying Slip Knot 



32 




Fig. 38^— First Step in Making Loop for Slip Knot 




Fig. 39 — Loop Completed 



The harness, which is made up of the heddles 
and heddle sticks, hangs just behind the beater and 
is suspended by tying the heddle sticks to the heddle 
horses. 



The heddle horses are tied one to one end of 
a piece of No. 16 blocking cord and one to the other. 
Fig. 41 is the drawing of a heddle horse. The rope 
is thrown over the roller just above, allowing one 



33 




Fig. 40 — Two Ends of Cord Placed in Loop 



horse to hang to one side and one to the other. Two 
other heddle horses are tied and hung in the same 
way at the other end of the roller. Fig. 20 shows 
heddle sticks hung in the finished loom. 

Cords are tied from the ends of the heddle 
horses to the top heddle sticks. From the center of 



each lower heddle stick a loop of No. 16 blocking 
cord is tied. The ends of the cord extending from 
the treadles slip into the loop, extending from the 
heddle sticks, as shown in Fig. 42. When pressure 
(in this case the foot) is applied to a treadle the part 
of the harness tied to that particular treadle draws 







Fig. 41 — Heddle Horses 



34 

the threads downward. Upon releasing this treadle 
and applying the pressure to the other treadle the 
other half of the threads are drawn downward. 

The Cloth Beam 

The ends drawn through the reed are now hang- 
ing loosely or tied in bunches in the front of the reed. 
These ends must in some way be connected with the 
cloth beam (Fig. 20) . Holes have been bored through 
the cloth beam. Through these holes the No. 16 
blocking cord is drawn. 

Beginning at the right of the cloth beam draw 
one end of the cord through the first opening. The 
other end is tied to the end of a rod, which is as long 
as the reed. 

(These rods were mentioned earlier in the 
process of warping. One was used in fastening the 
warp to the beam.) 

The cord is now threaded through the next hole, 
which is No. 2 in the cloth beam, and then through 
hole No. 3. 

A long loop is left between No. 2 and No. 3 
and the rod is pushed through it. The cord is now 
threaded through hole No. 4 and tied to the other 
end of the rod, as shown in Fig. 43. 

The cord is cut long enough to allow the rod to 
be brought up and over the breast beam up to the 
reed. The ratchet which connected with the cloth 







Fig. 42— Method of Tying Heddle Sticks to Treadles 

beam is now turned, rolling on the cord until the rod 
is about 8 or 10 inches from the reed. The ends 
now hanging in bunches are untied. About 30 



35 




Fig. 43 — Method of Preparing Cloth Beam 

threads are held in one group. The group is divided, 
allowing one-half of the group to pass under the rod 
and the other to pass over the rod. With the ends 
of the groups tie a single bow knot over the rod. 
Take up another group, divide it, and tie the same 
way. Continue until all have been tied to the rod, 
as shown in Fig. 44. 

The Shed 

After the loom is "tied up" and the right treadle 
is pressed downward, all the threads which pass 
through the eyes of the heddles on the front heddle 
sticks are pressed downward, thus causing a space 
between the threads passing through the front heddle 
eyes and those passing through the back heddle eyes. 

This space comes just in front of the reed when 
the beater is swung back, as shown in Fig. 45. 

This space is called the "Shed," and it is through 
this opening that the woof is passed. The woof once 
in place, and the treadle released, the beater is 



swung to the front, thus by means of the reed the 
woof is pressed in place. The left treadle is now 
pressed downward, and the woof again passes through 
the shed from the left, the beater and reed pressing 
it into place the same as in the first thread. 




Fig. 44— Warp Tied to Cloth Beam 



36 



1 




The shuttle shown in Fig. 46a is so constructed 
as to admit of a piece of 10 or 12-gauge wire. This 
wire extends lengthwise across the inside of the 



Fig. 45— The Shed 

If rags or similarly heavy materials are used, 
they are wound on what is called a shuttle which in 
this case is simply a piece of quarter-inch bass, poplar, 
or pine, cut as shown in Fig. 45. If finer materials 
such as mercerized cottons are used, a shuttle 
similar to the one shown in Fig. 46 is used. 

The Small Shuttle 

The beginner will, no doubt, use principally 
the coarser materials for the woof and will, there- 
fore, use the shuttle as shown in Fig. 46 and Fig. 46a. 




1 



II II 



Fig. 46— Small Shuttle 



Fig. 47— Shuttle Stick 



37 




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CsD 



bection thf. Oenrer 



Fig. 46a — Working Drawing of Small Shuttle 

opening, the ends being forced into two little holes, 
one in each end of the opening. In one of the holes, 
a small spring is concealed and the wire is put in 
place very much as a bobbin is placed into the 
shuttle of a sewing machine. Fig. 47 shows a shuttle 
stick. 

Bobbin Winder 

Fig. 48 shows a bobbin winder extensively used 
in Norway and Sweden. Small wooden spools are 
slipped on to the shaft of the winder, or a piece of 
paper may be tightly wrapped around the shaft. 
The end of the thread to be wound is caught in the 
wrapping of the paper. By means of the small crank 
the wheel is turned and the thread is wound on the 
spool or paper. The bobbin is made in this way. 
If the bobbin winder as shown above is not avail- 
able, a spinning wheel may be equipped to do the 
work. A plug with an extension may be forced into 
the spindle, as shown in Fig. 49. The spool or the 
paper may be wrapped around this extension, and 
the wheel may be turned just as when spinning. 




Fig. 48— Bobbin Winder 




Fig. 49 — Spinning Wheel Used for Bobbin Winder 



38 



The Temple 

As the weaving continues, it will be found that 
there is a tendency in the fabric to "draw in" 
narrower than the entering of the warp in the reed. 
When this "drawing in" becomes noticeable, it may 
be corrected by using the temple. 

The temple is very simple in its construction. 
Fig. 50 shows the working drawing. At the broad 
ends of each of the parts, 1|" or 16-gauge brads 
are driven in and the heads are filed off. For heavier 
material, the brads should be of 12 or 14-gauge. 



The parts when joined together are for the 
purpose of holding out the edges of the material 
being woven, to the required width. The means of 
adjusting the length of the temple are shown in 
Fig. 51 and Fig. 52. The parts are held together 
by a wire nail or wooden pin, which is forced into 
the holes bored thru the sides of the parts. 

The pin is first inserted and the temple placed 
on the cloth a short distance from the reed, with the 
filed points of the brads catching the edges of the 
material, as shown in Fig. 52. When the temple is 



J 



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Fig. 50 — Working Drawing for Temple 



39 











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Fig. 52 — Temple Opened 



40 




Fig. 53 — Pair of Reels 




Fig. 55— A Reel or Swift 



41 



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Fig. 54 — Working Drawing of Reel 



42 

pressed down in this position, it will force out the 
edges of the cloth. The small metal band "A," 
which fits closely, is moved along so it holds the two 
parts together. After weaving from four to six 
inches, the temple is moved so it again is a few 
inches from the reed. 

To move, slip the metal band so the parts may 
swing on the pin and proceed as above described. 

The Reel 

A great many of the different threads used in 
weaving must be purchased in skeins. This fact 
makes the reel almost indispensable, in order that 
the skeins may conveniently be made into bobbins. 

Fig. 53 shows a pair of reels, mounted on a 



stand in such a manner that the distance between 
them can be regulated. Fig. 54 shows the working 
drawing of a pair of reels. It will be observed that 
the upright of the stand has a slot cut in it for the 
greater part of its length. The reels revolve on 
elongated axles, and may be fixed in the slot at any 
height, by means of a screw and collar. This makes 
it possible to adjust them to different-sized skeins. 

Fig. 55 shows another kind of reel which may 
be fastened to a table. It opens like an umbrella 
and may be adjusted to skeins of various sizes. The 
small skein allows only a partial opening of the reel. 
The skein is placed over the reel while closed. The 
reel above mentioned is often called a swift. 



CHAPTER II 



Pattern Weaving 



Rag Rugs 

In weaving rag rugs the loom must be threaded 
with a four-ply carpet warp, twelve threads to the 
inch. This calls for a number 12 reed. Since the 
process of preparing the loom has already been 
described in detail, the weaving may at once 
begin. 

Figures 56 and 57 show what may be done with 
rags. The design is kept in straight and unbroken 
lines. Figs. 58 and 59 show what may be done by 
laying straight pieces of cloth to cover the color 
used in the body part. In this case the design is 
also kept in straight, unbroken lines. The material 
used in the light colored rugs is unbleached muslin, 
while the colored borders are of blue outing flannel. 
The dark rug is of Dutch blue calico and unbleached 
muslin. 

Introducing Color as shown in Figures 58 and 59 

The cloth used for the foundation is drawn 
through the shed and beaten. The beating presses 



the strip of cloth together. Without crossing the 
threads, draw in the short pieces to be used for the 
design and wrap them around the color used for the 
foundation. To make this as easy as possible the 
foundation strip just beaten may again be pushed 
out into the shed so that it may easily be wrapped 
with the color used in the design. 

After the colored strips have been wrapped 
around the foundation color, the beater is drawn 
forward and presses the foundation color with the 
strip in the design into place. 

This process is a most interesting way of in- 
troducing color when the coarser materials are 
used. 

Before beginning to design for loom work, it is 
better to operate the loom and know just a little of 
its possibilities. When this plan is pursued the 
designs made are usable, as the operator knows what 
is possible and will design accordingly. 



43 



44 




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5Q ^' 5 9 

I litiiiiiiMlilii MiliiiiMiMWiiM 



Figs. 56, 57, 58, 59— Woven Rag Rugs 

Plaids 

Figure 60 shows a series of simple yet effective 
plaids which may be woven on a two-harness loom. 
In reeling the warp for plaids, a certain number of 
threads of each color are reeled according to the 



desired plaid. When the reeling is completed and 
the warp is placed on the warp beam, it will be 
found that the warp is in bands of color. 

In weaving the finished cloth the same colors 
as were used in the warp are now used in the woof. 
If ten threads of a certain color were used in the warp 
then the same number of threads of the same color 
must be used in the woof. It is in that way that the 
plaids are made. 

Pattern Weaving 

To the casual observer of hand-woven articles, 
nothing seems quite so impossible as many of the 
complicated patterns woven on the ordinary foot- 
power loom. To those who have done weaving, the 
pattern work does not seem so wonderful. It is 
surprising how quickly the amateur weaver grasps 
the idea of pattern weaving. 

The plan here is to present the pattern weaving 
in the simplest possible way. 

In all that has gone before, nothing but plain 
weaving has been suggested; in other words, only 
two sets of heddles have been used and only two 
treadles. 

To do pattern weaving, it will be necessary to 
use four sets of heddles and four treadles. In Fig. 
20 may be seen the four sets of heddle sticks just be- 



•;•;• 




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i><*#--^-ii 


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45 






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hind the beater. Heddlcs are placed on each pair 
of the sticks. They are hung for threading just as 
the two sets are hung in Fig. 32. 

The warp is reeled and placed on the warp beam 
just the same for pattern weaving as for plain weav- 
ing. Let the pattern shown in Fig. 61 be the one 
for consideration. This pattern is known as the 
Monk's Belt. The name, no doubt, comes from its 
use in weaving the belts used by the early monks. 

Let the material to be used be a four-ply white 
or gray carpet warp just the same as was used in 
the rug weaving. In the rug work only twelve 
threads to the inch were used. For this pattern 
twenty threads to the inch will be used. 

If the article to be woven is to be about 22 inches 
wide and there are to be 20 threads to the inch, it 
will require 456 threads to be reeled, including 24 
threads for the selvages. If four threads are reeled 
at a time, it will require 114 groups of four threads 
to make the required number. The length depends 
upon the weaver. 

Having placed the heddles on the heddle sticks 
and the warp on the beam, the worker is ready to do 
the threading. Seated as sho^^^l in Fig. 32, with the 
pattern as shown in Fig. 61 at hand, the work of 
threading is begun. 



Fig. 60 — Plaids 



Fig. 61 — Monk's Belt. Draft of Pattern 



It must be remembered that the sets of heddles 
are numbered from the front to the back. That is, 
the heddle sticks just in front of the worker is number 
1, the next number 2, the next number 3, and the 
farthest number 4. The row of squares in the pat- 
tern marked No. 1 indicates that all the threads 
in this row must be threaded in their order thru 
the heddles on heddle sticks No. 1. The squares 
in the pattern in row No. 2 indicate that these 
threads are threaded in their order thru the heddles 
on the second pair of heddle sticks. Three and 
four follow in the same manner. 

Be^innin^ to Thread 

Beginning at the right of the pattern, the first 
thread of the selvage is indicated by a dark square 
in the fourth row. This means that the first thread 
passes through the eye of the first heddle on the back 
or fourth row of heddles. This heddle threaded, it is 
pushed along and the next thread is taken care of. 
The next thread is on, the second row and is passed 
through the eye of the first heddle on the second pair 



of heddle sticks. This heddle is now pushed along 
and the third thread is cared for. The third thread 
passes through the first heddle on the third pair 
of heddle sticks and is pushed along. The fourth 
thread passes through the eye of the first heddle 
on the first pair of heddle sticks and is pushed along. 
The fifth thread passes through the eye of the second 
heddle on the fourth row. This is continued until 
the part of the pattern marked selvage is completed. 
The selvage is threaded but once, at the beginning 
and at the end, unless otherwise indicated. 

The threading of the real pattern begins after 
the selvage has been threaded. Upon investigation 
it will be found that 36 threads make one repeat of 
the pattern, Fig. 61. If there are 456 threads in all 
and 24 are used for the two selvages, 432 threads 
remain. If it requires 36 threads to thread the pat- 
tern once, 432 threads will repeat the pattern 
twelve times. 

The first thread of the pattern appears on the 
fourth or back row of heddles; the second thread 



47 



Sel^ ^g^ 









4 




4 




^ 
















3] 
















5 




4 




4 








^ 








4 








4 








4 








4 






3 




3 




3 
















3 
















3 




3 




3 








3 








3 






3 








3 








3 








a 
















2 




2 




2 








^ 




2 




2 
















2 








2 










2 








2 








2 




1 
















1 




I 




1 








Ll 





i 




[iJ 
















1 








} 








1 








i 








1 









2 
1 



Fig. 62 — Monk's Belt. Another Way of Drafting Pattern 



is on the third row, etc. Continue until each thread 
indicated by the dark squares is threaded. When 
this is done, the pattern has been repeated once. 
Go back to the beginning, which is the first thread 
on the fourth row after the selvage. In this way 
thread the pattern twelve times. When this is 
done, there are still twelve threads left for the 
selvage, which is threaded the same as the selvage 
at the right or beginning. 

Fig. 62 shows another way of expressing the 
pattern shown in Fig. 61. There are several other 
ways of ^^Titing patterns, all of which will be given 
in order that the weaver may understand and make 
use of patterns found in various books on the sub- 
ject. 

Fig. 61, however, shows the way patterns are 
v^Titten in textile schools. 

Threading the Reed 

The threads having been drawTi through the 
heddles in the order indicated by the pattern are 
now ready to be dra^Mi through the dents of the 

4 



reed. A No. 20 reed is hung as shown in Fig. 34. 
With a reed hook, as sho^vn in Fig. 35, the threads 
are dra\\Ti through the reed in their regular order 
as before described. 

To make the selvage, two threads of the sel- 
vage are dra^^•n through each of the first six dents. 
This uses the twelve threads of the selvage as shown 
in the pattern. 

If the number 20 reed is used each thread of 
the pattern passes through a dent until the selvage 
is again reached, when two threads pass through 
each dent. 

If a No. 20 reed cannot be had, a No. 10 reed 
may be used by placing four threads of the selvage 
through each dent of the selvage and two threads 
of the pattern through each of the pattern dents. 

Very often the reed has many more dents than 
is required for the number of threads used in a 
particular pattern. In such case care must be taken 
to draw the threads through such dents as ^\all 
bring the weaving in the center of the reed. For 






48 



example, if the finished work is to be 22 inches wide 
and the reed through which the threads are drawn 
is 28 inches long, it is of the greatest importance 
that the first thread is drawn through the dent 
three inches from the right end of the reed. After 
all the threads have been drawn thru the dents, 
three inches are left at the left end of the reed. 
The ends now are tied to the rod which leads to the 
cloth beam, the same as in Fig. 36. 

Tying the Heddle Sticks 

Fig. 20 shows the position of the heddle horses. 
Two heddle horses are tied together with a piece of 
No. 16 blocking cord. The cord is thrown over the 
roller or the pulley above, leaving one heddle horse 
at one side and one at the other, as shown in Fig. 20. 

The upper heddle sticks are tied to the scroll- 
like ends of the heddle horses, one to each. To do 
this take four heddles the same as were used on the 
heddle sticks. These are looped all at one time over 
one end of the first heddle stick. This is done by 
placing one loop at the end of the heddle to one side 
of the heddle stick, as shown at A, Fig. 63. The 
other ends of the heddles are placed through this loop 
and are drawn tightly over the heddle stick. With 
the thumb and finger, make a loop in the other end 
of the heddles simJlar to the loop in Figs. 38 and 39. 
Slip this loop over the scroll-like end of the heddle 



horse as shown at B, Fig. 63. Take four other 
heddles and loop one end over the second heddle 
stick far enough from the end so that it is directly 
under the other scroll-like end of the same heddle 
horse, as shown at C, Fig. 63. 

With the finger and thumb, make a loop in 
the other end of the heddles and slip this loop over 
the other end of the heddle horse, as shown at D, 
Fig. 63. Heddle sticks 1 and 2 are now tied to the 
one heddle horse; see Fig. 63. Take four other 
heddles and loop them over the third heddle stick 
the same distance from the end as the first was 
looped at E, Fig. 64. Loop the other ends of the 
heddles over the scroll-like end of the second heddle 
horse, as shown at F, Fig. 64. The fourth heddle 
stick is tied in the same way and the same distance 
from the end as the second one, as shown at G and 
H, Fig. 64. This finishes the tying at one end. 
Tie heddle sticks at the other end to the heddle 
horses in the same way. Heddles are used to tie 
the heddle sticks to the heddle horses because they 
are all exactly the same length. This is of great 
importance. 

Tying Heddle Sticks to Treadles 

To keep the heddle sticks even and all together, 
tie them together at each upper end. From the 
center of each lower heddle stick, tie a loop of No. 
16 blocking cord as shown at A, Fig. 37. 



49 



From each treadle allow two ends of No. 16 
blocking cord to extend upward. Beginning at the 
right, tie the first treadle to the first lower heddle 
stick; the second treadle to the second heddle stick. 
In the same way tie 3 and 4. This numbers the 
treadles from right to left 1, 2, 3, 4. The loom is 
now ready for work. 

Weaving the Pattern 

Before beginning to weave the pattern, experi- 
ment by pressing do\vn certain treadles. Press down 
treadles 1 and 2 at the same time. Press do"\vn 3 
and 4. Press down 1 and 3 by placing one foot on 
1 and the other on 3. Press down 2 and 4. It will 
be found that 1 and 2, when pressed do^^Ti, make 
one part of the pattern, as shown at A, Fig. 65. 

By pressing down treadles 3 and 4, the part 
of the pattern shown at B, Fig. 65, is made. 

These two changes are all that are found in 
Fig. 65. C, Fig. 65, is the same as A, only there are 
fewer threads used in weaving C. D, Fig. 65, is 
the same as B; and E, Fig. 65, is the same as A. 

It was found that when treadles 1 and 3 were 
pressed down exactly one-half of the threads were 
drawn down. When 2 and 4 were pressed down the 
other half of the threads were drawn down. 

Any amount of plain weaving may be done by 
pressing down alternately 1 and 3 at the same time, 
and 2 and 4 at the same time. This being true. 



it is possible to place pattern borders with as much 
plain weaving in between as is desired. 




Fig. 63 
Tying the Heddle Sticks 



Fig. 64 



50 



When doing pattern weaving the thread used 
in the pattern should be at least as heavy as the 
warp. 

For every pattern thread that is placed in the 
weaving there must be what is called a binding 
thread or binder. The binding threads are always 
put in while the feet press down treadles 1 and 3, 
and 2 and 4. It will be remembered that it is these 
two sets of treadles that make the plain or tabby 
weave. 

Let us suppose that everything is ready to begin 
the actual weaving. Treadles 1 and 3 are pressed 
down at the same time and the shuttle is passed 
from the right through the shed to the left. 

Treadles 2 and 4 are next pressed down and the 
shuttle is passed through the shed from the left to 
the right. In this way as much plain weaving may 
be done as is desired. 

If a table runner is to be made, about five inches 




Fig. 65 — Pattern Woven 



of plain weaving in the beginning are sufficient be- 
fore introducing the pattern. 

To Make the Border as Shown in Fig. 65 

When weaving a pattern there must always 
be a binder woven in every time a pattern thread 
is woven. It is this binder that holds the pattern 
thread in place. It is always well to have the 
binder of finer thread than that used in the plain 
weave, or than that used in the pattern, as the pat- 
tern threads may be more closely beaten together. 

The shuttle containing the thread to be used 
for the binder is now at the right. 

Treadles 1 and 2 are pressed down at the same 
time and a pattern thread passed through the shed. 
When this is beaten in place, treadles 1 and 3 are 
pressed down and a binder thread is passed through 
the shed. Treadles 1 and 2 are again pressed down 
and a pattern thread passed through the shed. 
Treadles 2 and 4 are now pressed down and a binder 
passes through the shed. Press 1 and 2 again for 
the pattern thread and 1 and 3 for the binder. 
Press 1 and 2 again, and 2 and 4 for the binder. 

The weaver has, no doubt, discovered by this 
time that the pattern thread may enter the shed 
from either the right or left while care must be taken 
to enter the binder from the side it should be entered 
in order to make the plain weave. With the amateur 
it might be well to give the following direction con- 



cerning the weaving in of the binder: When the 
first and third treadles are pressed down the binder 
must always enter from the right, and when the 
second and fourth treadles are pressed down the 
binder enters from the left. The beginner when 
returning to the work often finds it difficult to know 
which treadles to press down for the first binder 
thread. This may be decided by the position of 
the shuttle. If the thread from the shuttle is to 
the right then treadles 1 and 3 are pressed down for 
the binder. If the thread is at the left then 2 and 4 
are pressed down. In other words, when the right 
foot presses down one of the outside treadles the 
shuttle must enter the shed from the right side and 
when the left foot presses down an outside treadle 
the shuttle enters the shed from the left side. This 
will aid the beginner in keeping track of the bind- 
ing thread. 

Second Change in Pattern 

The second change in the pattern is shown at B, 
Fig. 65. To weave in the pattern threads for this 
change, treadles 3 and 4 are pressed down each time. 
Three and four are pressed down and the shuttle 
containing the pattern thread is thrown through 
the shed. 

The shuttle containing the binder is at the 
right, therefore treadles 1 and 3 are pressed down. 
The shuttle at the right means that the right foot 



51 

pressed down the right treadle. If it had been at 
the left, then 2 and 4 would have been pressed down, 
the left foot pressing down the left treadle which is 
the outside treadle to the left. 

C, Fig. 65, is the same as A; and D is the same 
as B. E is the same as A. 

Checked Paper 

After the pupils have worked out the design 
shown in Fig. 65, pass to them checked paper and 
have them work out as many different combinations 
taken from Fig. 65 as possible. 

When this is done the different combinations 
may be woven on the loom. 

Fig. 66 and Fig. 67 show a few such combina- 
tions. 

Adaptations 

There is very little value in asking pupils to 
design in textiles if they know nothing about the 
real working of a loom. At first thought one is very 
likely to look upon loom weaving as a very mechan- 
ical line of work because of the fact that the loom is 
threaded for a certain pattern. This work may be 
made so if the teachers cannot see beyond the one 
Httle pattern for which the loom is threaded. If, 
however, the instructor will use the checked paper 
freely and have the pupils make as many different 
combinations of the changes shown in Fig. 65 as 
possible, a great deal of good may be derived from 



52 



p;;.- . .. . -jijiiliJ'jfJfiMFfi*-*;;;:': ■ 







t^-stm-mmuii 





the standpoint of design and color. Attention has 
already been called to the combinations shown in 
Figs. 66 and 67. These interesting borders may be 
woven into table-runner borders, bags of various 
kinds, pillow tops, curtains, etc. 

In Fig. 68 is shown a bag for fancy work. The 
material for the plain part is of Ecru Jap Six No. 20. 
Twenty threads to the inch were used, two threads 
passing through each dent. The border is of a No. 
5 mercerized cotton. 

Fig. 69 shows a knitting bag in which the 
Monk's Belt threading is used. This bag was woven 
on the same loom as was the fancy work bag. The 
change in design is due to a change in colors and 
the order of treadling for the stripes. The Jap 
silk is the same. 

When one begins really to work, the possi- 
bilities begin to dawn. 

Fig. 70 shows a pair of curtains woven of 
Egyptian twine. A number 20 reed is used, one 
thread passing through each dent. A No. 3 mer- 
cerized cotton is used for the border, which is another 
adaptation of the Monk's Belt. The binder is 
Egyptian twine. 

Numerous all-over designs may be produced by 
using the threading draft shown in Fig. 61. 



■:'';7:???!ff???-!f:{:?-:*^*«'?*fri: 




1 1 B i Bb I m 



HW4#M§^ 




m mmmt M^ 



lit I tllM I 




Fig. 66 — Borders 



Fig. 67 — Borders 



53 




Fig. 68 — Fancy Work Bag 

The Rose Path 
Figure 71 shows the threading for the pattern 
called the Rose Path. It is one of the most inter- 



esting of all the simple threadings and may be 
worked out by beginners in a great variety of ways 
and colors. 

When threading any pattern always begin at 
the right and work toward the left. 

i 









^ 










Fig. 69 — Knitting Bag 



54 



Threading for the Rose Path 

Thread first the selvage. There are but eight 
threads in a single repeat of the pattern. The ma- 
terial to be woven is 20 inches wide plus the width 
of the selvages. 

If there are to be 20 threads to the inch, it will 
require 400 threads plus sixteen threads for the 
selvages, making in all 416 threads. 

If four threads are reeled at a time, it will be 
necessary to reel 104 groups. 

Since 400 threads are used for the pattern and 
there are eight threads to each repeat, the pattern 
may be repeated 50 times. 

The selvage is threaded the same for the Rose 
Path as was threaded for the Monk's Belt. 

The first thread of the pattern is drawn through 
the eye of the first heddle on the back row. 

The second thread goes through the eye of the 
first heddle on the third heddle sticks. 

The third thread passes through the eye of 
the first heddle on the second heddle sticks. 

The fourth thread passes through the eye of 
the first heddle on the first heddle sticks. From here 
the threading runs back to the fourth heddle sticks. 

The eighth thread of the pattern passes through 
the eye of the second heddle on the first heddle 
sticks. This finishes one repeat. All the other re- 
peats are simply a repetition of the first. 




Fig. 70 — A Pair of Woven Curtains 



55 



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wmm 






IWBltl 



HWS 



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Ulllii! 



ISHH 




Fig. 72 — Borders 



The left selvage is the same as the right. 

If a number 20 reed is used, two threads of the 
selvage are drawn through each of the first six 
dents and then one thread through each dent until 
the left selvage is reached, when two are again 
drawn through each of four dents. 

If a number 10 reed is used four threads of the 
selvage are drawn through a dent at a time and then 
two threads through each dent until the left selvage 
is reached. 

selvage 

3 
1 

Fig. 71 — Rose Path. Draft of Pattern 

The upper heddle sticks are tied to the neddle 
horses the same as for the Monk's Belt. 

The lower heddle sticks are also tied to the 
treadles the same as in the Monk's Belt. 

Weaving the Pattern 

It must be remembered that the treadles are 
always numbered from right to left. By pressing 
down treadles 1 and 3, one-half the threads are 
drawn down. Treadles 2 and 4 are drawn down the 
other half. 

With the shuttles containing both the pattern 
thread and the binder at the right, press down 





IMM 




mMMMMmi 



*ifiM»*itf*:fi^^irt 




Fig. 73 — Borders 



56 




1 and 2 

2 and 4 Binder 
2 and 3 

1 and 3 Binder 



1 and 4 

2 and 4 Binder 



Fig. 74 — Tie-up, Using Lambs 



treadles 1 and 2 and pass the pattern thread through 
the shed. 

Press down treadles 1 and 3 and through the 
shed pass the binder. Press 1 and 2 down again 
and through the shed pass the pattern thread. 

Press down 2 and 4 and pass the binder through 
the shed. 

To press down the treadles in the following order : 
1 and 2 2 and 3 1 and 4 

1 and 3 Binder 2 and 4 Binder 1 and 3 Binder 
3 and 4 

1 and 3 Binder 
3 and 4 

2 and 4 Binder 

When the above has been completed all the 
changes possible in this threading are shown. 

On ruled paper have the pupils make as many 
combinations of the above changes as possible. 

Figures 72 and 73 show a few of the combina- 
tions woven into borders. 

The Rose Path is full of interesting combina- 
tions which may be used in borders for curtains, 
bags, table runners and pillow tops. 

Finer Threads Used for Warp 
It is not necessary to confine the warp used to 
the ordinary four-ply carpet warp. It must be re- 
membered, however, that the finer the warp the more 
threads there must be to the inch. 



SffV'^* " ■^**''t'''1f'^' 




iilpsiil 



I'kIP 



Sil' 








!»»»K*W'<***''**i<'5««**''' ''*'*''•**'' -^ ''■ "^ ■■ '*** 



57 

For extra fine work the mercerized cotton may 
be used. This is obtainable in various sizes. Num- 
bers 3 and 5 are most commonly used. Jap silk 
No. 20 makes a very good warp for finer articles. 
Glo silk is also good. To the one interested there 
is an unlimited variety to be had. 

The Lambs 

In the pattern weaving up to this time the 
loom has been tied up in such a way that it has been 
necessary to use both feet in pressing down the 
treadles to bring about the desired changes in the 
pattern. 

Fig. 74 shows the drawing of such parts of the 
loom as are concerned in pattern making. At A, 
Fig. 74, are shown the heddle sticks without the 
heddles. 

At B are shown the lambs. The lambs are new 
and no reference up to this time has been made to 
them. C, Fig. 74, illustrates six treadles instead of 
four as shown and described in previous drawings. 

The working drawing of the loom will show the 
lambs held in place at one end by brackets screwed 
to the inner right side of the loom at B, Figs. 74 
and 20. By the use of the lambs, the loom may 
be so tied up that one foot will press down the de- 
sired number of heddle sticks at one time. 

The tying of the upper heddle sticks to the 



Fig. 75 — Curtain Border. Adaptation from Rose Path 



58 

heddle horses is the same as shown at A and as 
previously described. 

On examination of B it will be found that in- 
stead of the treadles being tied directly to the lower 
heddle sticks, it is the lambs which are tied, one to 
each lower heddle stick. 

This tying of the lambs is done exactly the same 
as if the treadle were being tied. 

B, Fig. 74, shows holes bored in the lambs. 

When the lambs are tied to the lower, heddle 
sticks, attention will be given to the treadles. There 
are six treadles in all. 

The two center treadles are used in drawing 
down the heddles that will do the plain weaving. 
The other four, two at each side of the center, are 
used to make the pattern. These are numbered 
from right to left, 1,2. Skip the two center ones and 
number the last two, 3 and 4. 

If the first change in the pattern indicates that 
heddle sticks 1 and 4 are to be drawn down, then 



the lambs 1 and 4 are tied to the first treadle, as 
shown in Fig. 68. When treadle No. 1 is pressed 
down, it draws down lambs 1 and 4. Since lambs 

1 and 4 are tied to the lower heddle sticks 1 and 4, 
the pressure must draw down the heddles. 

If the next change in the pattern indicates that 
heddles 2 and 3 are to be drawn down, then lambs 

2 and 3 are tied to treadle No. 2 as above described. 

This is continued until all treadles have been 
tied to draw down the right heddles. The heddles 
doing the plain weaving are tied to the two center 
treadles. The knot used in the tying has been fully 
described in Figs. 37, 38, 39 and 40. 

Fig. 75 shows an adaptation of the Rose Path 
to a border which may be used in curtains. A num- 
ber 9 reed is used; one thread to each dent. The 
woof and warp are of the same material. Care is 
taken not to beat the woof too hard. This ma- 
terial resembles a coarse scrim. A number 3 mer- 
cerized cotton is used in the border and a 2-ply 
thread is used for the binder. 



CHAPTER III 
Colonial Patterns 



Many of the patterns used by amateur weavers 
of today are simply the old Colonial patterns which 
have been handed dowTi from one generation to 
another. 

It is difficult to know just where thej^ first 
originated. The names often suggest the country 
from which the original pattern might have come. 
Such names as the Olive Leaf and Bonaparte's 
March may have come from France; the Queen's 
Delight and the Governor's Garden may have come 
from England; while the Whig Rose may have 
originated in our own country as late as the time 
when the Whig Party sprung into existence. One 
of the interesting features of this work, to the 
amateur weaver of today, is not to accept the pat- 
terns just as they have been handed down, but to 
make such changes as will enable the finished pro- 
ducts to find an appropriate place in the house 
furnishings of today. 

The patterns which follow are given as they were 
originally woven, together with such changes as 
make them desirable at this time. 



Reading a Draft 

''Draft" is the term usualh'' applied to a thread- 
ing as sho^^Tl in Figs. 76 and 77. This, when proper- 
ly followed, produces the pattern as sho"\Mi in Figs. 
78 and 79. Fig. 78 shows the upper or right side 
and 79 shows the under side of the finished weaving. 
''The Big Diamond" is the particular name of this 
pattern. 

The following is a detailed description of the 
pattern : 

First: In threading a pattern always begin to 
read at the right. When the first part is finished 
begin at the right of the second, etc. 

Second: The pattern begins with the first 
thread after the right selvage and ends with the last 
thread just before the left selvage. 

Third: Find the number of threads to make 
one repeat. All threads within a brace are to be 
repeated the number of times indicated. For ex- 
ample, 4X means to repeat the threading four 
times. The actual number of threads in this pat- 
tern is 168. If a number 20 reed is used this pat- 



59 



60 



3s/v&ffe \ 




Ex 4x 

Fig. 76 — The Big Diamond. Draft of Pattern with Each Group Marked 



tern may be threaded two full times and up to the 
place marked by the arrow the third time. Direct- 
ly following this the selvage is threaded. 

The number of threads to produce the piece 
of cloth is as follows : 

Two times 168 threads, plus 108 threads 
(up to arrow), plus 32 threads for selvage, making 
in all 476 threads. The use of a four-ply carpet warp 
and a No. 10 reed and two threads to the dent makes 
a table runner about 24 inches wide while in the 
loom. 



After the warp has been reeled and placed on 
the beam, the threading may begin. 

Fourth: Threading — ^The selvage is threaded 
as before described. The 2X indicates that the 
threads within the brace are to be threaded twice. 

Beginning with the real pattern the first thread 
passes through the eye of a heddle on the third 
heddle sticks. The second thread passes through 
the eye of a heddle on the second heddle sticks. 

The draft shows that this combination is re- 
peated four times; this is indicated by the brackets 




gefvage 




2X AX 

Fig. 77 — The Big Diamond. Draft of Pattern 



^^mm 



61 



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iMMiiriii.ii 



MM! - -!SK:^l 




^1 





^ilii^' 



drawn around this group. The next group is made 
up of the combination of 3 and 1, indicated by 
brackets. 

The next threads run in the combination of 4 
and 1, and the next 4 and 2, as indicated by brackets. 
The threading is continued until the left selvage is 
reached, the brackets indicating the grouping. 
From this place the threading begins at the be- 
ginning of the pattern and is repeated a second time 
straight through to the left selvage; care must be 
taken to thread the threads within the brace the 
number of times indicated. The second time com- 
pleted, the pattern is threaded a third time up to the 
threads marked by the arrow. The left selvage 
threaded now completes the threading of the entire 
warp. 

The draft is usually written as shown in Fig. 77. 

Fifth: The threading completed, the threads 
are drawn through the reed, two to each dent. Care 
must be taken to draw the threads through the 
dents so the threading is in the middle of the reed. 
This has been explained previously. 

The Tie-Up 

The upper heddle sticks are tied to the heddle 
horses as before described. 

The lower heddle sticks are tied, one to each 
of the lambs instead of directly to the treadles. 



m^ 



mi 

r 



iilpili 






.1 iVViji 
. I ■ I i ■ 



Ln«" 





imq^ii 



;!'§> 



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fr 






•<♦♦■»• 



lA 







I 



Fig. 78 — Right Side of Finished Weaving 



Fig. 79 — Under Side of Finished Weaving 



62 

The treadles are tied to the lambs in the order 
indicated by the draft. 

The first combination in the threading is 2 and 
3, therefore lambs 2 and 3 are tied to the first 
treadle. The next combination is 1 and 3, then 1 
and 3 are tied to the second treadle. 

The third change in the pattern is 1 and 4. 
It is tied to the fifth treadle which is next to the 
last, skipping the two center ones. 

The fourth combination is 4 and 2 . which is 
tied to the last treadle. 

The plain weaving for this pattern is done by 
pressing down heddle sticks 1 and 2 at one time, 
and 3 and 4 the next. This means that lambs 1 
and 2 are tied to the right middle treadle, and 3 
and 4 are tied to the left middle treadle. 

Weaving the Pattern 

Before beginning the real pattern about one- 
half inch of plain weaving is done. This is done by 
pressing down first one and then the other of the 
two middle treadles. 

With the shuttle at the right, press down the 
first treadle which draws down heddle sticks 2 and 3. 
Through the shed pass the first pattern thread. 

For the binder press down the middle treadle 
to the right. For the second pattern thread press 
down the first treadle again. The thread for the 



plain weaving is at the left, so the left treadle is 
pressed down and the binder is sent from the left 
to the right. 

For the third pattern thread press down the 
first treadle again. The binder is now at the right, 
so the right middle treadle is pressed down. This 
is continued until the first treadle is pressed down 
as many times as there are threads indicated in the 
first combination. In this case there are eight, and 
the binder is used after each pattern thread. If 
eight times makes too large a color spot, press down 
the first treadle only six or even four times. The 
weaver must be the judge. 

The second change in the pattern is 1 and 3 
in the threading, therefore the second treadle which 
draws down 1 and 3 is pressed down 4, 6 or 8 times, 
just as the weaver desires. 

The third change is 1 and 4, so the fourth or 
next to the last treadle is pressed down 4, 6 or 8 
times. The fourth change is 2 and 4, so the last 
treadle is pressed down 4, 6 or 8 times. 

It will be observed that the threads all come in 
combinations. Sometimes the combination con- 
sists of only two threads. When this is true then 
only two pattern threads are run across. 

The draft shown at Fig. 77 tells all that must 
be known about a pattern to produce the finished 
piece of cloth. 



63 



It must be remembered that the pattern may- 
be woven by using only four treadles, one tied to 
each heddle stick as described in the Monk's Belt 
and the Rose Path. 

In case each heddle stick is tied to a treadle, 
the pattern is produced by pressing down treadles 
2 and 3 as many times as desired. Then 1 and 3 
as manj^ times as desired, 1 and 4 and then 2 and 4. 

The plain weaving is done by pressing down 
treadles 1 and 2 at one time, and treadles 3 and 4 
at another. 

The patterns which follow will be described 
in as brief a way as possible, because all tying and 
treadling are read in the draft as above described. 

Fig. 80 shows the original draft for the Double 
Snowball, and Fig. 81 shows the woven pattern 



when the draft shown in Fig. 80 is followed, 
requires 396 ends for one repeat of the pattern. 



It 



Where to Begin 

Owing to the width of looms it is necessary to 
weave counterpanes and couch covers in two strips, 
to be sewed together. In all drafts care is taken to 
begin the threading so two edges may be sewed to- 
gether to make one complete pattern, just the same 
as figured carpets are woven and sewed. 

The tie-up: Each lower heddle stick is tied to 
a lamb. 

The lambs are tied as follows: 
1 and 4 to the first treadle. 

1 and 3 to the second treadle. 

2 and 3 to the third treadle. 
2 and 4 to the fourth treadle. 




mmm 



mvmmm 




gffli 



Fig. 80 — The Double Snowball. Draft of Pattern 



64 



The plain weave is done by tying lambs : 

1 and 2 to the right middle treadle, 

3 and 4 to the left middle treadle. 

Figure 83 shows an adaptation of the Double 
Snowball. It is not difficult to find the part of the 
pattern used in the original pattern. This par- 
ticular part when used alone as in Fig. 82 is often 
called the Dogwood Blossom. 

Figure 82 shows the draft for the adaptation 
and is read as follows: 

First: 704 threads required for the entire 
pattern. 

Second: Each lower heddle stick is tied to a 

lamb. 

Third : The lambs are tied as follows : 
1 and 4 to the first treadle. 

1 and 3 to the second treadle. 

2 and 3 to the third treadle. 
2 and 4 to the fourth treadle. 




Fig. 81 — Finished Weaving Using Double Snowball Pattern 

The plain weave is done by tying lambs : 
1 and 2 to the right middle treadle. 
3 and 4 to the left middle treadle. 



mmm 



3eiva^e 



6elvage. 




^p^H^a 



ZX 



n 




y ff w ff ff y y 



Fig. 82— Adaptation from the Double Snowball. Draft of Pattern 



yr' 



65 



^ T r 











The material is a two-ply unbleached 
cotton warp. 

Use a No. 15 reed, placing two 
threads to a dent. 

The material used in the pattern 
may be a colored four-ply carpet warp 
or a No. 3 mercerized cotton. The two- 
ply carpet warp may be used for the 
binder or a fine mercerized thread maj^ 
be used. 

When weaving the pattern, the part 
within the brace is woven as many times 
as is indicated by the figure. For exam- 
ple, the brace marked 7X means all 
within the brace is woven seven times 
before proceeding with the remainder of 
the pattern. 

Figure 81 shows the original pattern, 
while Figs. 83 and 84 show a table runner 
taken from Fig. 81. 

This pattern is often used for pillow 
tops. In such a case a square is woven. 

Fig. 85 shows a draft taken from 
what is known as Block Work, the orig- 
inal of which is showTi in Fig. 86. This 
design, as well as many of the old Colonial 
patterns, is full of suggestions for pillow 
tops, table runners and even counterpanes. 




:Si;ixSSlltifs.?sll f 





Fig. 83— Right Side of Table Runner 



Fig. 84— Under Side of Table Runner 



66 



2>or-cler 



SeUage 



5elvage 



8X 




Fig. 85— The Block Work. Draft of Pattern 




Fig. 86 — Finished Weaving of Block Work 



Figure 87 shows a pillow top taken from Fig. 86. 

There will be no difficulty in locating Fig. 87 
in Fig. 86. 

Figure 88 shows a table runner taken from Fig. 86. 

Figure 88 was woven on the same loom, with the 
same threading as the pillow top shown in Fig. 87. 

Reading of the Draft, Fig. 76 

No. 10 reed, two threads to a dent. 
456 threads four-ply carpet warp required. 
Each lower heddle stick is tied to a lamb. 
The lambs are tied as follows : 

1 and 4 to the first treadle. 

3 and 4 to the second treadle. 

2 and 3 to the third treadle. 

1 and 2 to the fourth treadle. 
For plain weave tie : 

1 and 3 to the right middle treadle. 

2 and 4 to the left middle treadle. 




.ft**'' 



tf-+M-+rFr++T+T+ 



tt+rh*;-t;+HK++-4- 



■f-++M-**++»- 



f++-l-++++M- 



+++++;+L+i+rf+ 



H+-l-Hh++*+++ 



{*-4-+++i-+++ 



+++*ait;+i+* 



f++++t;+avi-+ 



++++i+;+*:+Lii 



i 
i 

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IS { 

{•■■llljl'. 




67 

Observe that the last thread of the right sel- 
vage is omitted in the second threading. This is 
done to avoid two threads coming together on the 
same heddle stick. 

Chariot Wheel 

Figure 89 shows a draft taken from what is 
known as the Chariot Wheel pattern. 

Figure 90 shows a pillow top woven on a loom 
threaded with Fig. 89. 

Figure 91 shows the under side of Fig. 90. 

Very often the under side of the weaving is 
more attractive than the upper which is the right 
side. The design of the under side is usually more 
broken, thus making it many times more desirable 
from an art standpoint. 





"•it 

9"""$! 
^ >({HnfiCsuiiHSffi 

i...i..^ii""KKrtKAKArtrr^.,,,,v5 
,«■"•■■ jW" ■■ ■• <»• ■■ ■■ ■• ■" ■■ "■ v.'C "i 

'•' • • t • • • • • • JjJJBQaSSc! 



Fig. 88 — Table Runner Woven from Block Work 



Fig. 87 — Finished Pillow Top 



68 



HMlMMWMi 



S><:>r-cie.r- 







5X 



2X 




MM 



mmmmmmm 



iSX 



Fig. 89— The Chariot Wheel. Draft of Pattern 



When making a pillow, let one side of the pillow 
show the right side and the other the under side of 
the weaving. 

Figure 92 shows a counterpane, using the draft 
shown in Fig. 89. 




Fig. 90 — Pillow Top Woven from Chariot Wheel Pattern 



Reading the Draft, Fig. 89 

Material: A two-ply unbleached carpet warp. 

Number 15 reed, placing two threads to a dent. 

Woof : Any color of wool, four-ply carpet warp 
or No. 3 mercerized cotton; 672 threads required to 
complete the threading. 

The lower heddle sticks are tied one to each 
lamb. 

The lambs are tied as follows : 

1 and 3 to the first treadle. 

2 and 3 to the second treadle. 

2 and 4 to the third treadle. 
1 and 4 to the fourth treadle. 
For the plain weave: 

1 and 2 tie to the right middle treadle. 

3 and 4 tie to the left middle treadle. 

When threading the draft as shown in Fig. 80, 
thread the right selvage first and then the border. 



69 



iT'Tl" iril\ W AMTi 



;i,Tiiiiiiii 

4m 



UIUUUUUJ' JJL JS. IT il "'■ ju 1/ jUi u 11 juL^^^^j* Bi 

ttDf/MfffJiy M. air 11 ""*^ij\f m '■='■^•1^; ti^"' <iui 

*™"'™'Tr,^ _,_ *^.V«^\ i^\Y<^ «\\Y«H _,_-AtM 

irrt AV,W ,«V,<t i^.Y*** «»• ' 

I MIIJMJIIIB. 

Fior. 01 — TTnrlpr Sirip of Pillnw 



Fig. 91 — Under Side of Pillow 

repeating the threads within the brace the number 
of times indicated. The real pattern begins just 
after the right border. This part of the draft is 
threaded four times before threading the left border 
and the left selvage. 

Figure 93 shows a pair of curtains, the border 
of which is an adaptation of the ''Chariot Wheel." 

To the one truly interested there is no limita- 
tion of adaptations. Whole bedroom sets may be 
woven, carrying the ''Chariot Wheel" into the 




Fig. 92 — Counterpane Woven from Chariot Wheel Pattern 



70 



^Iot-^^t^*^' 




U ,v> -ft' * 



Fig. 93 — Curtain Woven with Border from Chariot Wheel 



various borders. Such a set includes the counter- 
pane, curtains, dressing table mat, valence and even 
the rug for the floor, which may be woven of coarse 
materials, carrying out the unity of design. 

This particular pair of curtains is woven of 
Egyptian twine. The border is of two shades of 
blue No. 3 mercerized cotton. 

The loom was threaded 30 ends to the inch. 
A number 15 reed was used, drawing two threads 
through each dent. This does not give the scrim 
weave as shown in the curtains. Figs. 70 and 75, 
but more of a marquisette weave, which is very 
pleasing. 

When weaving the border use only the treadles 
which will raise and lower the sets of thread that 
will produce the one row of wheels. It is well, how- 
ever, to weave in a narrow stripe below and above 
the principal border stripe, which in this case is 
the row of wheels. If the narrow bands are to be 
used across the top great care must be exercised to 
get the separate bands exactly the same distance 
from the top and at the same time make the borders 
at the bottom come together. If the bands across 
the top are omitted the weaving of curtains is great- 
ly simplified. It is not necessary to be limited by 
materials, as almost any threads may be woven 
into most attractive fabrics. 



71 



In weaving curtains it is always well to make a 
liberal allowance for shrinkage. Almost all ma- 
terials whether of wool, cotton or linen will shrink. 

The Orange Peel 

Attention has not been called to the fact that 
in many cases the original woven pattern appears 
without the draft for the same. Fig. 94 shows the 
original pattern of the Orange Peel, while Fig. 95 
shows the draft for Fig. 96 and Fig. 97. Should a 
counterpane of this pattern be desired the thread- 
ing is done the same as shown in Fig. 95, omitting 
the left border each time. The number of times the 
pattern is repeated depends upon the width of the 
loom and also the width of the couch cover or 
counterpane desired. It must be remembered that 
the strips are sewed together and must be made to 
match. 

The weaver will have gained by this time suf- 
ficient experience to make the changes to meet the 
demands. Originality is one of the chief aims of 
the work. 

The draft reads as follows : 

Material: Two-ply unbleached carpet warp. 

Reed number 15, placing two threads to a dent. 

The material used in the pattern (the woof) 
may be any of the three following materials: 

Wool, four-ply carpet warp, or No. 3 mer- 
cerized cotton. 




Fig. 94 — Original Pattern from Orange Peel 

Use a finer thread for the binder. 
606 threads for the complete pattern. 
Each lower heddle stick is tied to a lamb. 
The lambs are tied as follows: 
2 and 4 to the first treadle. 

2 and 3 to the second treadle. 
1 and 3 to the third treadle. 

1 and 4 to the fourth treadle. 

For the plain weave tie : 

1 and 2 to the right middle treadle. 

3 and 4 to the left middle treadle. 



72 



Stor-de-r- 5cka^e 




omit this thread •« 
first repeat ofbot 

Fig. 95— The Orange Peel. Draft of Pattern 



jT^n&rn 



This pattern has a few irregularities. First 
the selvage is threaded and then the right border. 
The pattern is then threaded five times from one 
arrow to the other. After the fifth threading the 
threads within the brace marked "thread once 
before last border" are taken care of. After this the 
last border is threaded, omitting the first thread in 
the first repeat of the border. This is done to avoid 
two threads coming together on the first heddle 
stick. The threading of the left border completes 
the pattern. 

It will be observed that the right and left edges 
are not the same, only half the pattern showing on 
the right edge and almost a complete pattern on 
the left edge. 

Figure 96 shows the ''Orange Peel" worked out 



in a sofa pillow top. The draft shown at Fig. 95 
will make this pillow top. 

Figure 97 shows the under side of Fig. 96. 

Governor's Garden 

Figure 98 gives the draft for a pillow top or 
table runner taken from the "Governor's Garden" 
shown in Fig. 99. 

It is difficult to recognize Figs. 97 and 98 as 
having been taken from Fig. 99. 

It is quite wonderful what even the amateur 
weaver will be able to do after a somewhat limited 
experience in actual work with the loom. 

Any draft is full of suggestions for borders, 
curtains, table runners, complete couch covers, 
pillow tops, counterpanes, etc. 




Fig. 96 — Pillow Top Woven from Orange Peel 

The "Governor's Garden" is the longest of the 
drafts and is threaded just as given in Fig. 98. 

The draft reads as follows: 

Materials: Two-ply unbleached carpet warp. 

Reed: Number 15, placing two threads to a 
dent. 



73 

The material in the pattern (woof) may be any 
of the materials before mentioned. 

Use 716 threads for the complete pattern. Each 
lower heddle stick is tied to a lamb. 

The lambs are tied as follows: 

1 and 4 to the first treadle. 

1 and 2 to the second treadle. 




Fig. 97 — Under Side of Pillow shown in Fig. 96 



74 



I 



Selvage 




ti 



S^^^^i^ 




6X 



^m 




2X 






4- 

2 



5e|va^e 



n 







5! 



2X 



6X 



Fig. 98 — The "Governor's Garden." Draft of Pattern 



2 and 3 to the third treadle. 

3 and 4 to the fourth treadle. 
For the plain weave tie : 

1 and 3 to the right middle treadle. 

2 and 4 to the left middle treadle. 

Figure 100 shows the right side of the finished 
weaving, while Fig. 101 shows the under side. 

The border on the front and back edges of any 
weaving is always taken care of by weaving the re- 
peat of the border as many times as is suggested in 
the draft. 

Bonaparte's March 

Figure 103 shows the woven sample of Bona- 




Fig. 99 — Original Pattern of Governor's Garden 



75 




Fig. 100 — Pillow Top Woven from Governor's Garden 

parte's March. It was woven by following the 
draft sho^vn at Fig. 102. In weaving the old-time 
counterpanes it was necessary to weave them in 
two strips because of the width of the looms at that 



time. In order that the two strips might be sewed 
together, the pattern was begun in the center of 
some particular figure found in the pattern. 

Only four threads were used in the selvage 
along the left edge. The border was usually placed 
on the right edge. 



C^vim- 




* 



HUH 



iiMr) 



Clliill 



, HHII 






<>: 



llttU] 



IIIIH) 



iniH) 



IIIIHl 



s- 




Fig. 101 — Under Side of Pillow shown in Fig. 100 



76 



Selvage 
"4 



2x 7x ^^ 2^ 



7x ex 7x 



7x 

Fig. 102 — Bonaparte's March. Draft of Pattern 



' 1 rj'j'jij;iun!MijOi»HUi"MjijHyinj;jOO'JL'000'0''ii"6od'iiiii 



Borders 



lipiO'j-jijO'"" 



i! "irii^'iiiM .I'JnjiHinQijriMijriMijQijFiiiiiijijijiiiiii 

. , ., - - - . :"-'6oniiiinriQii.nM 

i."ii"ii^HiiMiGiC'Oi"'"0OC'0CiOOCiOQ"MiiririQiij,,;,i 



Fig. 103 — Original Pattern of Bonaparte's March 



Borders are made by repeating certain sets of 
threads a number of times. Any one at all familiar 
with pattern weaving can readily understand the 
making of borders. 

Figure 104 shows a draft taken from draft 102. 
It is that part of the draft that will make an inter- 
esting pillow top. 

Figure 102 reads as follows: 

Count the number of threads in the pattern. 

Each lower heddle stick is tied to a lamb. 

The lambs are tied as follows: 

1 and 4 to the first treadle. . 



<3elvag& 



5etvag< 



Sx 7x l«iv 7x 2x 



4. 

3 

7£. 



7x I9x '^^ 

Fig. 104 — Draft of Pattern for Pillow Top. Adaptation of Bonaparte's March 



77 



Rorder 5elvage 



?x 



2X 



^^^^^ffl 



Fig. 105 — The Snail's Trail and Cat's Paw. Draft of Pattern 




Fig. 106 — Original Pattern, Snail's Trail and Cat's Paw 

2 and 3 to the second treadle. 
1 and 3 to the third treadle. 
It will be observed that only three treadles are 
necessary to weave the pattern. 



The plain weave is done by tying lambs: 

1 and 2 to the right middle treadle. 

3 and 4 to the left middle treadle. 

The material may be any of the material be- 
fore mentioned. 

Figure 104 may be read and the treadles tied 
the same as described in Fig. 102. 

Snail's Trail 

Figure 105 shows the draft for the pattern 
shown in Fig. 106. This pattern is often called 
the "Snail's Trail" and "Cat's Paw." 

Each lower heddle stick is tied to a lamb. 

The lambs are tied as follows: 

1 and 4 to the first treadle. 

2 and 4 to the second treadle. 
2 and 3 to the third treadle. 

1 and 3 to the fourth treadle. 

The plain weave is done by tying lambs: 



78 



5elvagc 



S MRMMHHM^MnMMMnAHMMMM^ II I^ I 



laaMMM JM mMMHM] 



RMflimM^MMI 



Fig. 107 — The Blooming Flower. Draft of Pattern 



Mf^jmi^^i^^ 



KM^'i^r- 






Fig. 108 — Original Pattern, Blooming Flower 

1 and 2 to the right middle treadle. 
3 and 4 to the left middle treadle. 
Press the treadles in the order indicated by the 
draft and as before described. 

The Blooming Flower 

"The Blooming Flower" is a pattern often used 
for counterpanes. Fig. 107 shows the draft while 



Fig. 108 shows the pattern woven by following the 
draft, Fig. 107. Only four threads are suggested 
in the selvage. This will permit of the sewing to- 
gether of the two strips. 

The material is usually a two-ply carpet warp 
for the warp and wool for the woof. Each lower 
heddle stick is tied to a lamb. 

For the pattern the lambs are tied as follows: 
1 and 4 to the first treadle. 

1 and 3 to the second treadle. 

2 and 3 to the third treadle. 
2 and 4 to the fourth treadle. 

The plain weaving is done by tying lambs : 

1 and 2 to the right middle treadle. 

2 and 4 to the left middle treadle. 

Pine Knot 

Figure 109 shows the draft for "The Pine Knot" 
and Fig. 110 shows the woven sample. This pat- 
tern lends itself to several interesting combinations. 

If the weaver has read what has gone before 



79 



[^w»^^^MnMtrL1jmMJlMflflM 



Seivaoe 



3X 

Fig. 109 — Pine Knot. Draft of Pattern 




ijslafsfcfci- 



• ■ ■«•■•« 



Fig. 110 — Original Pattern, Pine Knot 



there will be no difficulty by this time to select such 
parts of the pattern as are desired. 

The draft reads as follows : 

Tie each lower heddle stick to a lamb. The 
lambs are tied as follows: 

2 and 3 to the first treadle. 

2 and 4 to the second treadle. 
1 and 4 to the third treadle. 

1 and 3 to the fourth treadle. 

The plain weave is done by tying lambs : 

1 and 2 to the right middle treadle. 

3 and 4 to the left middle treadle. 

It must not be forgotten that the lambs are not 
absolutely necessary. Each treadle may be tied 

SELVAGE 



PJ!JMMMMMimfl^MmMMMMJ4^^ 



4-X 



5 



Fig. Ill— Federal Knot. Draft of Pattern 



f 



80 

directly to the lower heddle stick. In such a case 
only four treadles are used but two are pressed down 
each time a thread is passed through the shed. 
This has already been described. 

Federal Knot 

Fig. Ill shows the draft for the ''Federal Knot" 
and Fig. 112 shows the woven sample. This pat- 
tern, the same as those previously described, is full 
of suggestions. 

The material before mentioned may again be 
used in this pattern. 

The draft reads as follows : 




Fig. 112 — Original Pattern, Federal Knot 



Tie each lower heddle stick to a lamb. 
The lambs are tied as follows : 
1 and 4 to the first treadle. 
3 and 4 to the second treadle. 

1 and 2 to the third treadle. 

2 and 3 to the fourth treadle. 

The plain weave is done by tying lambs : 

1 and 3 to the right middle treadle. 

2 and 4 to the left middle treadle. 

Wheel of Fortune 

Figure 113 shows the draft for what is known as 
the "Wheel of Fortune," sometimes called the 
"Wheel of Time." 

The draft reads as follows: Material 2, 3, or 
4-ply unbleached carpet warp for the warp. 

The material used in the pattern (the woof) 
may be any one of the materials already mentioned. 

For 2-ply carpet warp use a No. 15 reed, for 3- 
ply use a No. 12 reed, for 4-ply use a No. 10 reed. 

It requires 262 threads for one repeat of the 
pattern. The selvage requires eight threads; and 
the border for a counterpane, 160 threads. If a 
pillow top is to be made the border should be made 
narrower and on both edges. The pattern begins 
at the first arrow just after the selvage and ends at 
the other arrow just before the border. 

Tie-up: Each lower heddle stick is tied to a 
lamb. 



81 



tvag< 



iMAAMpMMMmiHMnnK}mMH>yMiM 1 l 



3X 



tfv^ Pi 'v^wwi^^^ftnnnMuvi4nnhnrj¥^ 



^^ 



fT4TT 



Border- 



I I 1 1 



■rh- 



11 







Fig. 114 — Wheel of Fortune. Original Pattern. 



The lambs 
2 and 4 to 
2 and 3 to 



are tied as follows: 
the first treadle, 
the second treadle. 



lOx 

Fig. 113— Wheel of Fortune. Draft of Pattern 

1 and 3 to the third treadle. 

1 and 4 to the fourth treadle. 

For the plain weave tie : 

1 and 2 to the right middle treadle. 

3 and 4 to the left middle treadle. 

The weaver must always remember that a 
great deal of judgment must be exercised when doing 
the weaving. 

Four treadles may be used, one tied to each 
lower treadle stick. In such a case two treadles 
must be pressed down at the same time. Almost 
any kind of material may be adapted to the work. 
When the material is coarse there must be fewer 
threads to the inch. 

Figure 114 shows the finished weaving. 



82 



A 



^ oelva^ 



M 




Fig. 115 — The Irish Chain. Draft of Pattern 




Fig. 116 — Irish Chain. Original Pattern. 
Irish Chain 

The ''Irish Chain," sometimes called the "Nine 
Wheels," and sometimes the "Nine Snow Balls/' 
is shown in Fig. 116. 



The draft for the "Irish Chain" is shown in 
Fig. 115. 

The draft reads as follows: 

Material: Two-ply unbleached warp. The ma- 
terial used in the pattern (woof) may be any one of 
the materials already mentioned. 

Number 15 reed, placing two threads to a dent, 

288 threads required to complete one repeat of the 

pattern. 

The Tie-Up 

The lower heddle sticks are tied one to each 
lamb. 

The lambs are tied as follows: 
2 and 3 to the first treadle. 
2 and 4 to the second treadle. 
1 and 4 to the third treadle. 
1 and 3 to the fourth treadle. 
For the plain weave : 

1 and 2 to the right middle treadle. 

2 and 4 to the left middle treadle. 



fnH-WWFff 




KwiPnn 






--u^vu- 


83 

Border Selvdge 


l^f "fr ■:■ 




■ ■ ■ y brtftw M r 1 r 




1 


: " : 


: : 

::::::::::::: 


— 




F^W 


\ 1 i n r 


n Twwmwm ■ 



4 

z 
\ 



Fig. 117 — Draft of Pattern. Rings and Chains 



* — 

5x 




Fig. 118 — Rings and Chains, Original Pattern 

Figure 118 shows the original pattern woven 
by following the draft shown in Fig. 117, without 
the border. A counterpane or couch cover is not 
quite complete if left without a border. Fig. 119 
shows a counterpane with border. Fig. 117 shows 
the complete draft for the same. 



The same draft may be used for a pillow top or 
table runner by threading the border fewer times 
and repeating it and the selvage along the left side. 

The amateur weaver has no doubt discovered 
by this time that any border consists only of a cer- 
tain number of threads of each combination re- 
peated a number of times, the number of repeats 
depending entirely upon the Avidth of the border 
desired. 

The front border is always produced by follow- 
ing the draft shown within the brace marked ''bor- 
der," repeating the weaving as many times as is 
indicated. 

Upon examination it is found that to produce 
the finished piece of cloth the pattern treadles are 
tied as follows : 

The lower heddle sticks are tied one to each 
lamb. 

Treadles 1 and 2 are tied to the first lamb. 

Treadles 1 and 4 are tied to the second lamb. 



84 





w.. 









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Fig. 120 — Curtains with Border from Rings and Chains 



Fig. 119 — Counterpane Woven from Rings and Chains 



85 




Fig. 121 — Counterpane Woven from Old Quilt Pattern 



Treadles 3 and 4 are tied to the third lamb. 

Treadles 2 and 3 are tied to the fourth lamb. 

Plain weave : 

Treadles 1 and 3 are tied to the right middle 
treadle. 

Treadles 2 and 4 are tied to the left middle 
treadle. 

The materials used are similar to those 
previously suggested for other patterns. 

Figure 120 shows a pair of curtains woven of 
Egyptian twine. The border is an adaptation of 
''Rings and Chains." The part used in the border 
may easily be found in the completed counterpane, 
Fig. 119. The threading for the border in the cur- 
tains is the same as shown in Fig. 117. In weaving 
only the treadles are used that will produce the 
borders shown in the curtains. 

Old Quilt Pattern 

The finished counterpane shown in Fig. 121 
was woven by following the draft shown in Fig. 122. 

The name of this particular pattern is unknown 
to the author. The draft was taken from an old 
counterpane belonging to Miss Elizabeth Ganger, 
of Johet, 111. 

Each lower heddle stick is tied to a lamb. 

The treadles are tied as follows : 

Treadles 1 and 2 are tied to the first lamb. 

Treadles 2 and 3 are tied to the second lamb. 

Treadles 3 and 4 are tied to the third lamb. 

Treadles 1 and 4 are tied to the fourth lamb. 



86 



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julUS 



/ 



Fig. 122 — Old Quilt Pattern. Draft of Pattern 

Plain weave: 

Lambs 1 and 3 are tied to tlie right middle 
treadle. 

Lambs 2 and 4 are tied to the left middle treadle. 

Other Patterns 

The amateur weaver has, no doubt, learned by 
this time just how to read each draft. It has already 
been stated that the draft tells the whole story. 

The lambs are always tied one to each lower 
heddle stick. 

The treadles are now tied to the lambs. Fig. 
76 suggests the way the draft may be divided in 




Fig. 123 — Leopard Skin. Original Pattern 




Fig. 124 — Leopard Skin. Draft of Pattern 



87 





^x 



Fig. 125 — Fox Trail. Draft of Pattern 





Fig. 126 — Fox Trail. Original Pattern 



Fig. 127 — Doors and Windows. Original Pattern 




Fig. 128 — Doors and Windows. Draft of Pattern 



88 




MMTJU^ 



Fig. 129 — Double Chariot Wheels. Draft of Pattern 




Fig. 130 — Double Chariot Wheels. Original Pattern 



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mmgcw-miyritjuiiinam,^ 



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Fig. 131 — Scarlet Balls. Original Pattern 



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Fig. 132 — Scarlet Balls. Draft of Pattern 



89 




ax. 



Fig. 133— Sea Star. Draft of Pattern 








Fig. 134 — Sea Star. Original Pattern 



Fig. 135 — The White House. Original Pattern 




Fig. 136 — The White House. Draft of Pattern 



90 



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4. 

3 

f 





Fig. 137 — The Indiana Frame Rose. Draft of Pattern 




111 aiaiMI 






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Fig. 138 — The Indiana Frame Rose. Original Pattern 



Fig. 139 — Window Sash. Original Pattern 



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Fig. 140— Window Sash. Draft of Pattern 



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3 
f 







91 



4. 

3 
2 




Fig. 141 — Parson's Beauty. Draft of Pattern 











Fig. 142 — Parson's Beauty. Original Pattern 



Fig. 143 — Braddock's Defeat. Original Pattern 




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3 
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Fig. 144— Braddock's Defeat. Draft of Pattern 



92 




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3 
2 



4- 

3 
2 



Fig. 145 — The King's Flower. Draft of Pattern 





Fig. 146 — The King's Flower. Original Pattern 



Fig. 147 — Queen's DeHght. Original Pattern 




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3 
2 



Fig. 148— Queen's Delight. Draft of Pattern JX 



2X 



93 



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Fig. 149— Old Irish Quilt Pattern. Draft of Pattern 



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Fig. 150 — Old Irish Quilt Pattern. Oiiginal Pattern 




Fig. 151 — The Cross. Original Pattern 



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i_ J L U ^■^^B ■ 1 n ^^^1 ■ 1 ■ 1 i^i^ n M IB hn^ mm 1 ' i ' I' ■■■■'■" i ■ 1 




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Fig. 152 — The Cross. Draft of Pattern 



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94 



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Fig. 153 — Double Bow Knot. Draft of Pattern 



95 




Fig. 154 — Double Bow Knot. Original Pattern 




Fig. 155 — Four Wheels. Original Pattern 





4. 

3 
2 
1 



Fig. 156— Four Wheels. Draft of Pattern 



96 




Fig. 157. — Virginian Snow Ball. Draft of Pattern 



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Fig. 158 — Virginian Snow Ball. Original Pattern 




Fig. 159— Dog Tracks. Original Pattern 



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Fig. 160— Dog Tracks. Draft of Pattern 



Fig. 161 — The Platform. Draft of Pattern 



97 



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Fig. 162 — The Platform. Original Pattern 




Fig. 163 — Guess Me. Original Pattern 




Fig. 164 — Guess Me. Draft of Pattern 



98 



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Fig. 165— Wind Flower. Draft of Pattern 



order easily to read the various changes and make 
the "tie-up" stand out. 

It is better to figure out the "tie-up" for the 
pattern first. The plain weave "tie-up" cannot be 
the same as any one of the pattern combinations. 

It is only possible to have six combinations in 
all. This makes the plain "tie-up" very apparent, as 
it must be either 1 and 2, 3 and 4, or 1 and 3, 2 and 4. 
Very rarely does it appear in any other combination. 

There are other ways for the amateur weaver 
to determine this, but for the present the one given 
is sufficient. 

With the knowledge previously gained the "tie- 



up" for each of the following drafts may easily be 
determined. ^.^^ ^^^^^^ 

The "Wind Flower" is a good example of a 
counterpane in which two drafts are used; one to 
be followed in the threading, and the other to be 
followed in using the treadles. 

Figure 165 shows exactly the way the loom 
should be threaded to produce the pattern shown 
in Fig. 167. After the threading is completed there 
is no further use for Fig. 165. The lambs and 
treadles are tied the same as in previous patterns: 

2 and 3 to the first treadle. 

£>orcler 




Fig. 166 — Wind Flower. . Treadle Draft 



99 




I Fig. 167 — Original Pattern and Border Woven from The Wind 

Flower Pattern 




Fig. 168 — The Whig Rose. Original Pattern 



100 



Sefvc 




Fig. 169— The Whig 

1 and 2 to the second. 

1 and 4 to the third. 

3 and 4 to the fourth. 

For the plain weave, 2 and 4 are tied together, 
and 1 and 3. 

When weaving, Fig. 166 is followed; the weaver 
pressing down such treadles as will draw down the 
threads indicated in the treadling draft. To de- 
termine the number of times each treadle should 
be pressed down the draft may be divided in groups 
of threads as suggested in Fig. 76. 

The Whig Rose 

Figure 168 shows another pattern woven by 
using two drafts, one for threading and one for 



Rose. Draft of Pattern 

treadling. Fig. 169 shows the threading draft for 
the Whig Rose, while 165 shows the treadling draft 
for the same. The pattern treadles are tied 1 and 
2 to the first treadle, 2 and 3 to the second, 3 and 4 
to the third, 1 and 4 to the fourth. 

The plain weave is done by tying 1 and 3 to 
the right middle treadle, and 2 and 4 to the left 
middle treadle. 

After the threading has been completed there 
is no further use for Fig. 169. When weaving, 
follow Fig. 170, remembering that each dark square 
represents one woof thread. 



Border 




Fig. 170— The Whig Rose. Draft of Pattern 



CHAPTER IV 



Danish and Norwegian Weaving 



Ways of Expressing Danish Patterns 

It has been stated already that no attempt 
has been made to make this manual technical. 
The plan is to keep every pattern simple and to tell 
of its execution in as simple a way as possible. 

The Danes, Swedes, and Norwegians have 
carried weaving on the foot-power loom to a high 
degree of efficiency. The work is carried on to a 
very great extent in the homes. This is largely due 
to the fact that the governments of these countries 
encourage weaving as a home industry. Each of 
these countries has its own way of writing and 
reading drafts. It is the purpose of this manual to 
give to amateur weavers an explanation of the way 
each of the three nationalities writes and interprets 
its drafts. 

Reading a Draft 

Figure 171 shows a four-harness pattern woven 
by using three treadles. The lower heddle sticks 
are tied one to each lamb. 

The treadles are tied as indicated by the stars 
placed on the horizontal lines just to the right of 
the threading. The tie-up is interpreted as follows: 



Lambs 2 and 4 tie to the first treadle. 
- Lambs 1 and 3 tie to the second treadle. 

Lambs 1 and 2 tie to the third treadle. 

The order in which the treadles are pressed 
down is indicated by the stars on the vertical lines 
just to the right of the woven pattern. Treadle No. 
3 is pressed down first, then treadle No. 2, then back 
to No. 3, next No. 1, and then back to No. 3, etc. 

Figure 172 shows the draft and a woven sample 
for a two-harness loom. Each horizontal line above 
the woven pattern stands for a pair of heddle sticks 
(harness). Each vertical line stands for a treadle. 
This draft is threaded in the following way: 

The first thread passes through the eye of the 
heddle on the first pair of heddle sticks. The second 
thread passes through the eye of the heddle on the 
second pair of heddle sticks. Each time a heddle is 
threaded, it is pushed along. The third thread 
passes through the eye of the heddle on the third 
heddle stick and is pushed along. The fourth 
thread passes through the eye of the first heddle 
on the fourth heddle stick and is pushed along. 
The fifth thread goes back to the first heddle stick 



101 



102 




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Fig. 171 



Fig. 172 



and is threaded through the eye of the second heddle 
and is pushed along. The threading continues 
the same as the first four threads, the order being 
1, 2, 3, 4. This is continued until the desired num- 
ber of threads has been threaded. 

It will be observed that only two treadles are 
used while there are four harnesses for plain weav- 
ing. The beginner might ask why use four harnesses 
when two might answer the purpose. If any great 
number of threads is to be used in plain weaving, 
it is better to use four harnesses instead of two, 
threading as above described. 

Tying the Treadle 

It will be observed that the lower heddle sticks 
2 and 4 are tied to the right treadle, and 1 and 3 to 



Fig. 173 



Fig. 174 



the left treadle. This is indicated by the stars 
placed on the vertical lines to the right of the 
threading draft. With this tie-up, each time a 
treadle is pressed down, one-half the threads are 
drawn down. This practically does what two 
harnesses would do. By using four sets the threads 
are not crowded so closely together. The stars 
placed on the vertical lines to the right of the woven 
sample indicate the order in which the treadles are 
to be pressed down. 

Fig. 173 shows a somewhat checked material. 
To produce this pattern the warp is made up of 
blue and white threads. The threading is done the 
same as in Fig. 172, but first two blue and then two 
white threads are threaded until the entire number 



103 

















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Fig. 175 



Fig. 176 



of threads has been used. When weaving, two blue 
threads are used and then two white. This neces- 
sitates the use of two shuttles. It is also understood 
that when preparing the warp chain, the spools of 
warp are so placed on the spool rack that two blue 
and two white threads are reeled or warped at one 
time. The stars marked on the vertical lines indi- 
cate that first one treadle and then the other is to 
be pressed down. 

Fig. 174 shows another four-harness, but prac- 
tically only two-harness pattern. The threading is 
done the same as in the two already described. 
Harnesses 1, 2 and 3 are tied to the left treadle, and 
harness 4 to the right treadle. This is indicated by 
the stars placed on the vertical lines to the right of 
the threading draft. 



Fig. 177 



Fig. 178 



The stars on the vertical lines to the right of 
the woven pattern indicate the order in which the 
treadles are pressed down. 

Figure 175 shows a four-harness pattern, a 
little more irregular in its threading. The greatest 
care must be exercised when threading. 

In tying up this pattern the lambs are tied one 
to each lower heddle stick. The stars on the vertical 
lines to the right of the threading indicate the order 
in which the treadles are tied to the lambs. Treadle 
No. 1 is tied to the 3rd and 4th lambs. Treadle 
No. 2 is tied to the 1st and 2nd lambs. Treadle No. 
3 is tied to the 2nd and 4th lambs. Treadle No. 4 
is tied to the 1st and 3rd lambs. 

The stars on the vertical lines, to the right of 
the woven pattern, indicate the order in which the 



104 



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Fig. 179 



Fig. 180 



treadles are to be pressed down. The order is first 
treadle 4, then 3, 2 and 1. Then back again to 4, 
3, 2, 1. This order is continued throughout the 
entire weaving. 

Figure 176 shows a most interesting weave for 
towels. The warp and woof should be of linen. 
The threading is done as shown in the draft. Lambs 
and treadles are tied as shown by stars to the right 
of the threading draft. The order of treadling is 
shown by stars on vertical lines to the right of 
woven sample. 

Figure 177 shows a serge. The warp and woof 
should be of wool. Threading and tie-up are as in- 
dicated in the draft. 

Fig. 178 shows another serge weave. 



Fig. 181 



Fig. 182 



Figure 179 shows a pattern woven on a six 
treadle loom. The method of handling more than 
four harnesses will be treated a little later. It is a 
very interesting weave which may be used for winter 
coats. The warp and woof are of wool. Two threads 
are drawn through each dent of the reed. Note the 
irregular way in which the treadles are pressed down. 

Figure 180 shows an interesting weave to be 
used in towels. The dark, vertical stripe shows a 
number of colored threads reeled in the warp, while 
the horizontal dark stripe indicates that the same 
color is used as woof. 

This pattern is commonly known as the "Goose 
Eye." The threading and treadling are done as in- 
dicated. Two threads are drawn through e^ch dent. 



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105 



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Fig. 183 



Fig. 184 



Figure 181 shows a canvas weave. The thread- 
ing is done the same as in previous patterns. The 
Uttle circle placed below and between the groups 
of threads only indicates that a dent in the reed is 
to be omitted and has no reference to the threading 
of the pattern. 

It will be observed that the threads are in 
groups, four in each. Each group of four threads 
is drawn through every other dent of the reed. In 
other words, every other dent of the reed is left 
vacant. The threads on heddle sticks 1 and 2 make 
one group and the threads on heddle sticks 3 and 4 
make another group. This is clearly shown in the 
draft. When weaving, the first and fourth woof 
threads are to be double. 

Fig. 182 shows a very interesting curtain ma- 



Fig. 185 



Fig. 186 



terial woven by using four harnesses and three 
treadles. 

The plain stripe is shown in the first part of 
the threading draft. This number of threads may 
be increased so as to make any width desired. The 
closely woven bands at the edges of the plain stripe 
are obtained by drawing two threads through each 
dent. 

The open work is produced by drawing the 
three threads, held together at the base, through a 
single dent. The small circles between the groups 
indicate a dent to be omitted. The tie-up and 
treadling are done as indicated in the draft. 

In Figs. 183, 184, 185, and 186 are given ex- 
amples of five and six harness patterns. While 
these drafts are threaded and tied up the same as 



106 

other patterns, the method of hanging the harnesses 
is somewhat different and will be taken up in detail 
a little later. 

Norwegian Patterns 

The three patterns which follow show that the 
Danish and Norwegian ways of writing patterns 
are very much the same. 

Figure 187 shows a very interesting pattern 
and draft which may be produced on a four-harness 
loom usiag eight' treadles. In reeling the warp, 
eight threads of one color are used (say blue) and 
then eight threads of white. Two threads are drawn 
through the eye of each heddle and also through 
each dent of the reed. The woof thread is also 
wound double on the bobbins so that each time the 
shuttle passes through the shed two threads are 
carried at the same time. 

The horizontal parallel lines represent the 
harnesses, which are the same as heddle sticks. The 
vertical parallel lines represent the treadles. The 
stars indicate the way the treadles are tied to the 
lambs. The little dashes on the vertical lines in- 
dicate the order in which the treadles are pressed 
down. This order of treadling is continued until 
the desired amount of fabric is woven. 

Figure 188 shows a pattern in which the reel- 
ing is done by running three blue threads and one 
white thread on the beam. The entire warp is made 



Fig. 187 



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Fig. 188 




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Fig. 189 



up in this way, three blue and one white. Each 
thread passes through the eye of a heddle, and only 
one thread to each dent of the reed. When weaving, 
three blue woof threads are woven and then one 
white. 

In warping for the pattern shown in Fig. 189, 
two blue and two white threads are warped at the 
same time. The threading is done by threading 
singly two blue and then two white, as indicated in 
the draft. Two threads are drawn through each 
dent of the reed. 









CHAPTER V 



Svi^edish Weaving 



Swedish Way of Writing a Draft 

In many respects the Swedish way of writing 
a draft is more simple than any of the other ways 
described. 

The patterns which follow are all written in 
the Swedish manner and are interpreted in the fol- 
lowing way: 

In Fig. 191 is shown a two-harness pattern. 
The threading indicates that two threads are 
drawn through each eye of the heddles; two through 
the eye of the first heddle on the back heddle sticks, 
and then two through the eye of the first heddle on 
the first or front heddle sticks. 

It may also be done by threading only one 
thread through each eye but using two heddles on 
the same sticks. Two threads may be drawn 
through each dent of the reed. 

Figure 193 shows what may be called either a 
two-treadle or four-treadle draft. If two treadles 
are used, two lambs tie to each treadle. It must 
always be remembered that each lamb is tied to a 
lower heddle stick. Tying to the lambs is the same 
as tying to the lower heddle sticks. 



When the foot presses a treadle it draws down 
two harnesses. 

If four treadles are used, one to each lamb, it is 
necessary to use both feet in pressing down two 
treadles at the same time. The treadles marked one 
and one indicate that these are the first to be pressed 
down and mean treadles 1 and 3. Two and two in- 
dicate the second change and indicate that the second 
and fourth treadles are pressed down. 

Figure 192 shows the draft for a four-harness 
loom. The space between each pair of horizontal 
parallel lines stands for a pair of heddle sticks. 

Each space between the vertical parallel line 
represents a treadle. The little dots within the small 
squares indicate the order in which the treadles are 
to be tied to the lambs. 

The figures just below the dots indicate the order 
in which the treadles are pressed down. 

Figure 192 is threaded by passing a thread 
through the eye of the heddle on the back or fourth 
heddle sticks. The second thread passes through 
the eye of the heddle on the third heddle sticks, the 
third thread passes through the eye of the heddle on 



107 



108 

the second, and the fourth thread passes through the 
eye of the first heddle on the first or front heddle 
sticks. 

The entire draft is threaded by following this 
order : 

The lambs are tied one to each lower heddle stick. 
The pattern indicates according to the little dots 
that the fourth lamb is tied to the first treadle, the 
second lamb is tied to the second treadle, the third 
lamb is tied to the third treadle, and the first lamb 
is tied to the fourth treadle. 

The figures just below the dots indicate that the 
treadles are pressed down in the order of first 1, 
then 2, 3, and 4. This order of treadling is kept up 
until the desired amount of material is woven. 

In Fig. 194 is shown the same threading, but 
a different order of tying. 

Lambs 1 and 2 are tied to the first treadle. 
Lambs 1 and 3 are tied to the second treadle. Lambs 
1 and 2 are tied to the third treadle. Lambs 2 and 4 
are tied to the fourth treadle. 

The order of pressing the treadles is shown by 
the figures. 

In Fig. 196 the threading is the same as in the 
two previous patterns. The lambs are tied as follows : 

1, 3 and 4 to the first treadle. 

2 and 3 to the second treadle. 

1, 2 and 3 to the third treadle. 

2 and 4 to the fourth treadle. 



Fig. 190 



2 1 



Fig. 191 



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1 to the fifth treadle. 

2 to the sixth treadle. 

While this pattern requires six treadles, there 
will be no difficulty in understanding the tie-up. 



109 



Fig. 194 



Fig. 195 



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Fig. 196 



Figure 196 shows the same threading and two 
ways of "tie-up." The first shows each lower heddle 
stick tied to a treadle. In such case treadles 1 and 4 
are pressed down the first time, indicated by the 
two ones. The next time treadles 1 and 2 are 
pressed down at the same time, indicated by the two 
twos. The third time treadles 2 and 3 are pressed 
down, indicated by the two threes. The fourth 
time treadles 3 and 4 are pressed down, indicated by 
the two fours. After following this order once it is 
gone right over again and continued until the de- 
sired amount of material is woven. 

The other tying gives exactly the same result 
because of the fact that two lambs are tied to one 
treadle. This latter plan is better and makes it 
possible to accomplish much greater results in the 
amount of fabrics woven. 

In the next four patterns, 197 to 200 inclusive, 
the threading is the same as in previous patterns. 
The treadling is done by following the order of 
numbering. 

In Fig. 199 the number 5 means that the third 
treadle is to be pressed do^\m, and number 6 indi- 
cates the second treadle pressed down. 

In Fig. 201 the threading is done the same as 
in the two-harness loom draft shown in Fig. 191. 



110 



Irregular Threading 

In Fig. 202 is shown the first irregular threading. 
The first thread passes through the first heddle on 
the fourth heddle stick, the second thread passes 
through the first heddle on the third heddle stick, 
the third thread goes back to the second heddle 
on the fourth heddle stick, the fourth thread to the 
second heddle on the third heddle stick, the fifth 
thread through the first heddle on the second heddle 
stick, the sixth thread through the first heddle on 
the first heddle stick, the seventh thread through the 
second heddle on the second heddle stick, and the 
eighth thread through the second heddle on the first 
heddle stick. 

In Fig. 203 is shown another irregular threading; 
first between the 3rd and 4th heddles and then be- 
tween the 1st and 2nd. Observe the grouping of the 
treadling. 

The lambs are tied as indicated by the dots. 
The treadles are pressed down as indicated by the 
figures. The first time treadle 1 is pressed down. 
The next No. 2, the third time No. 1 again, the fourth 
time No. 2 again. The fifth time No. 1. The next 
five times are between treadles 3 and 4. The next 
goes back to the first and second treadles. This 
order is kept up until the desired amount of ma- 
terial is woven. ' 

Figure 204 shows what is known as the "Honey 



Fig. 197 



Fig. 199 












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Fig. 202 





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Comb Weave." There will be no difficulty in under- 
standing the threading. The first fourteen threads 
are on the third and fourth harnesses. The second 
fourteen threads are on the first and second harnesses. 
To produce the ejffect shown in the finished pattern 
the entire warp is threaded just as shown in the 
draft. If a variation is desired the loom may be 
threaded so six inches will be the same as shown in 
the finished pattern. A four-inch stripe may be 
threaded by drawing 28 threads through the heddles 
on the third and fourth harnesses and then 28 on 
the first and second. This is continued until the de- 
sired width is obtained. The next step is to go back 
to the fourteen threads. The treadles are tied one 
to each lamb. In weaving, the first fourteen threads 
of the woof are woven by pressing down the first 
and then the second treadles. 

The next is to press down treadles one and three 
at the same time. This is indicated by 1 and 1. 
The next is to press down treadles two and four at 
the same time, and is indicated by the figures 2 
and 2. The next fourteen threads are woven in by 
pressing down treadles three and four as indicated 
by the figures placed in the vertical spaces. This 
order of treadling is kept up until the material is 
woven. 

Figure 206 shows a threading which is the same 
as that of the Rose Path. By following the order 



112 



Fig. 203 



Fig. 204 



1 
b 

8 

10 

n 



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2 

6 
8 

10 
12 

H 




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— iinzr 
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3 2 I 

4 



Fig. 205 



of treadling as indicated by the figures used, a most 
pleasing all-over pattern results. 

Figure 207 shows two threads passing through 
the eye of the heddle on the fourth heddle sticks, 
then one thread each through the third and second, 
and then two through the eye of the first heddle on 
the first heddle sticks. 

The draft indicates two single threads and 
then one double. In threading, two threads may be 
drawn through each dent of the reed, or a double 
thread may be drawn through the first and then two 
single, as indicated in the draft. 

Observe the order of treadling, first the first 
treadle, then the second, and then the third. The 
fourth step indicates that the first, "marked four," 
is pressed down and then the second, "marked five." 
The sixth time the foot presses down a treadle, 
it is the fourth one. 

The figures indicate the number of times the 
foot is changed from one treadle to another. The 
space in which the figure is placed is the treadle to 
be pressed down. 

Figure 208 shows the Swedish way of expressing 
the pattern known as the "Goose Eye." Observe 
the order of treadling. The treadles are pressed 
down in their order from 1 to 4, then back to 1, 
indicated by the number 5; back to the fourth in- 



113 



dicated b}^ the number 8; back to number 1 for the 
third time, indicated by the number 9. 

The second change consists of the reverse order 
of treadhng. 

Figure 209 shows a four-harness pattern which 
may be accompHshed by using four treadles or 
eight treadles. Observe the difference in the tie-up. 
If four treadles are used they are pressed down in 
their regular order, 1 to 4. 

The next time treadles 1,2, and 3 are all pressed 
down at the same time. This is indicated by the 
three ones. 

Treadles 1, 2, and 4 are next pressed doT\Ti, 
indicated by three twos. 

The next time treadles 1, 3 and 4 and the next 
2, 3 and 4. 

If eight treadles are used and tied as indicated 
the work is more rapidly carried on. 

Figure 210 shows a four-harness loom. The 
pattern is accomplished by tying and treadling 
as indicated in the draft. 

Three-Harness Draft 

The amateur weaver by this time has no doubt 
gained sufficient knowledge of the two and four- 
harness drafts not only to do the threading success- 
fully but also to "tie-up" for any pattern desired. 
Occasionally a draft appears which is written in 
three harnesses, as sho^Ti in Fig. 215. When such 



Fig. 206 



Fig. 207 



Fig. 208 





is the case the upper heddle sticks are tied as shown 
in Fig. 211. The tying of the treadles is the same 
as for patterns already described. 

Figure 212 shows the way five harnesses are 
tied. 

Figure 213 shows the tie-up for a six-harness 



114 









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Fig. 209 

draft and Fig. 214 shows the tie-up for seven 
harnesses. The pulleys used may be purchased of 
any dealer in hardware or may be made of wood, 
being turned on a wood lathe. 

Figure 215 shows a plain diagonal weave in 
three harnesses. The threading is simple and the 
tie-up consists in tying a treadle to each lower heddle 
stick. The drawing shown in Fig. 211 shows the 
way the upper heddle sticks are tied. 

Figure 216 shows a threading quite different 
from that shown in Fig. 215. 

The first thread is drawn through the eye of 



2,1 
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Fig. 210 





the first heddle on the third heddle stick, the second 
thread through the eye of the first heddle on the 
second heddle stick, the third thread goes back to 
the eye of the second heddle on the third heddle stick. 

The next three threads are on heddle sticks 1 
and 2. 

Figure 217 shows the draft and sample of an 
interesting curtain material. 

The threading is done by following the draft. 
The threads on harnesses 1 and 2 make the plain 
weave. The somewhat irregular threading makes 
the stripe. 

When threading the reed draw one thread 
through each dent for the plain stripe. 

Skip one dent and then draw the three threads 
on heddle sticks 2 and 3 through the same dent. 

Skip a dent and then draw the one thread on 
the first heddle sticks through a dent, skip a dent 
and draw three, skip, draw one, skip and draw three, 
etc. 

Eight-Harness Pattern 

Fig. 219 shows the way the upper heddle sticks 
for an eight-harness loom are tied. There are always 
as many lambs used as there are lower heddle sticks. 
Ordinarily the eight-harness loom works fairly well 
when tied up as shown in Fig. 219. 

The difficulty, if there is any, grows out of the 
fact that the heddle sticks or harnesses after being 



115 

drawn down refuse to return to their original po- 
sition when the foot releases the treadle. Sometimes 
weights consisting of rectangular pieces of iron are 
hung at each end of the heddle sticks. These 
weights draw the harnesses back in place when 
raised. 



Fig. 215 



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Fig. 217 



116 

Heddle Frames 

Sometimes wire heddles are used instead of 
those made of cord. The wire heddles are placed 
in wooden frames. These frames may be suspended 
the same as when heddle sticks are used. 

Another Way of ''Tie-Up'' 

Fig. 220 shows a way of ''tie-up" that requires 
two sets of lambs. The second set of lambs may 
be held in place by an iron rod pushed through the 







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Fig. 218 

same brackets as hold the upper lambs, only lower 
down. This is shown in the construction of the 
loom. The loom should be about four inches higher 
in order to give sufficient space for the two sets of 
lambs. This may be brought about by adding a 
four-inch piece to each leg of the loom. For all 
ordinary purposes the original working drawing of 




Fig. 219 

the loom answers all conditions. By using this 
method the heddle horses are done away with and 
each harness is tied so it must pull either up or 
down when pressure is applied to the treadle. The 
roller over which the heddle horses are hung :'s re- 
moved and replaced by the apparatus shown at A 
and B, Fig. 220. A detailed section is shown at 
Fig. 221. If an eight-harness loom is desired, six- 
teen pieces are constructed as shown in Fig. 221. 
Eight of these are placed to the right upper half of 
the loom and the other eight to the left upper half. 




117 

The various sections are held in place by a half- 
inch dowel rod as shown at 1 and 2, Fig. 220. The 
rods are supported by two pieces of 7-8" maple 
constructed as shown in Fig. 222. This sort of 
frame work replaces the roller as shown in the 
finished loom in Fig. 223. 

The ''Tie-Up' 

Returning to Fig. 220, loops of No. 16 blocking 
cord are tied and hung from each outer end of the 
levers as shown at C and D in Fig. 220. Two ends 
of the cord are fastened to each end of the upper 
heddle sticks, as shown at E and F. The loops and 
ends are tied just the same as the treadles are tied 
to the lambs. From the inner ends of the levers H 
and G, a piece of blocking cord is tied, one end to 
one, and the other end to the other as showTi. From 
each loop a piece of blocking cord extends to the 
lower set of lambs by passing between the harness 
and ties the same as all other connections have 
been made. Each lower heddle stick ties to an upper 
lamb the same as in the two and four-harness looms. 
Loops of blocking cord are now drawn through the 
holes of the treadles, one in each. The upper lambs 
are tied to the treadles the same as in every other 
"tie-up," the cord passing between the lower lambs. 
The lower lambs are also tied to the treadles by 
using the loops not used in tying the upper lambs. 



Fig. 220 



118 




Fig. 221 



By tying a loom in this way all harnesses making 
the pattern are drawn down while the other harnesses 
are drawn up. No part remains stationary. The 
weights previously mentioned for drawing the har- 
nesses back in place are no longer necessary. Fig. 
220 shows only a four-treadle loom. This is done to 
avoid complication in the explanation. Any num- 
ber may be used. This method of tie-up is especial- 
ly desirable when an odd number of heddle sticks 
( harnesses ) is used. It does away with pulleys and 
heddle horses, Fig, 223. The fact that each part of the 
harness must either pull up or down makes a most 
perfect shed, thus avoiding the skipping of threads, 
so common in weaving when the shed is not perfect. 

Fig. 224 shows a very interesting pattern pro- 



duced by either five or six harnesses. The tie-up 
for each is given in the draft. 

The order of treadling is indicated by the figures 
just below the dots indicating the "tie-up." 

The material produced may be used in a coun- 
terpane as well as in a bathrobe, if so desired. 

The warp is run off in two colors in the follow- 
ing order: 

112 white 814 white 

18 red 18 red 

62 white 62 white 

18 red 18 red 

- 112 white 
The woof is of both red and white. 



119 




Fig. 223 



120 



I J 



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1. 11 . .1 1 . 11 



T^ 



I I I I 



IT 



Six-Harness Draft 

The secret of success in weaving is getting all 
parts ''tied up" so there is no irregular pulling in any 
way. Great care should be exercised in using the 
knots in "tie up" as has been suggested. This 
will enable the weaver quickly to adjust any irregular 
pulling without untying the hard knots so often 
used by the amateur weaver. It takes some time 
to adjust each part before arriving at the stage where 
everything moves smoothly. 

In the various drafts which follow no attempt 
has been made to give a minute description of each 
pattern. The thought is that each weaver will use 
the draft best suited to the needs at hand. Among 
the patterns given are drafts for towels, dress goods, 
coats, upholstering, table runners, curtains, couch 
covers, counterpanes, suiting, pillow tops, etc. 

The threading, tie-up and the order of treadling 
have been so minutely described that further ex- 



T I I 



Fig, 224. 



planation is not necessary. If possible, the loom 
should be equipped with the parts shown in Figs. 
221 and 222, and placed as shown in Fig. 223. 








mmm 



Fig. 225 

For the regulation four harness loom the loom 
shown in Fig. 20 is very satisfactory. It is well to 
start out with the loom just as shown in Fig. 20. 
As the work advances the various additions may be 
added as the necessity requires. 



121 



Fig. 226 





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Six-Harness Loom 

The Swedish loom, as described and illustrated 
in this manual, is constructed in such a way as to 
permit of additional parts making possible the pro- 
duction of many complicated patterns. The draw- 
ing shown in Fig. 220 shows the construction of 
parts which makes easy the weaving with six 
harnesses. 

The various drafts in six harnesses which 
follow have been very carefully worked out and 
found practical in every respect. Among the drafts 
given are those suited to upholstering, dress goods, 
toweling, heavy suiting, coats, etc. The interested 
weaver will find no end of suggestions. This, to- 
gether with a little originality, will greatly simplify 
the working out of new and attractive patterns. 

It is not necessary to confine the work only to 
certain materials. Many times a pattern worked 
out in the finest of threads may be worked out in 
a very coarse thread and made to serve an entirely 
different purpose from what it was originally in- 
tended. 

To enjoy weaving great care must be exercised 
in the "tie-up." All parts must be made to pull 
evenly. To do this the blocking cord must be used 
and the method of tying must be observed in order 
to adjust readily. 



122 



Fig. 229 




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Eight Harness Loom 

The loom as described for six harnesses will 
answer the description for the eight harness loom. 
The parts necessary are described in Figs. 220, 221 
and 222. These parts are shown properly placed in 
the complete loom on page 119, Fig. 223. 

The next group of patterns from Fig. 244 to 
Fig. 391 inclusive, concerns the eight harness loom. 
The threading and tie-up have been so carefully 
described in previous patterns that there can be no 
difficulty in understanding the drafts for the eight 
harness patterns as here given. It will be found that 
the threading for many of the eight harness pat- 
terns is the same, the change in pattern being 
brought about by a change in the tie-up. One 
threading therefore makes it possible to produce a 
variety of patterns by changing only the order of 
treadling. 

Numerous interesting weaves which may be 
used for upholstering, suiting material, towels, etc., 
are produced. 



125 



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e 






• 


1 1 1 s 


• 


• 


• 






9 






MM S 




• 


• 


• 






• 




II 1 1 C 






• 


• 


a 






• 


1 1 fl 


4 
8 


3 

7 


2 
6 


1 
5 


4 
8 


3 

7 


2 
6 


1 
5 


J? 




Fig. 334 




'^0mMk 



Fig. 332 



"^ 


• 




c 




» 




• 


! 1 Mm 




• 


• 




• 




• 




III 1 


1^^ 




• 


• 


t> 




• 




• 


1 1 1 1 . 


^^ 






• 


• 


• 




• 




1 1 1 


^2^ 




• 




• 


• 


c 




• 


1 1 1 


^^M 


* 




• 




• 


• 


» 




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W^ 




• 




e 




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ii 1 


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• 




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• 


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8 


7 
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5- 


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4 


5 

3 


4 


3 


2 


1 




m 


1 


2 


3 


4 


5 
3 


6 
I 

4 


7 

1 
5 


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Fig. 335 




141 



Fig. 336 



Fig. 337 



IT 



Fig. 338 







• 


• 




• 


• 






1 1 ^ 


• 


• 




• 


• 








1 1 I 1 C 


• 




• 


• 








• 


III 1 y 




• 


• 








• 


• 


II 1 c 


• 


• 








• 


• 




Illy 


• 








• 


• 




• 


1 II 1 f 








• 


• 




• 


• 


MM \ 






• 


• 




• 


• 




1 1 / 


8 


7 
9 


10 


5 

11 


4 
12 


3 

13 




1 


Si 




Fig. 339 



Fig. 340 





• 


• 




• 


• 






1 1 'Vn 


• 


• 




• 


• 








III 1 » 


• 




• 


• 








• 


1 1 1 l' fi 




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• 








• 


• 


II y t^ 


• 


• 








• 


• 




1 1 1 S 


• 








• 


• 




• 


1 11 1 m 








• 


• 




• 


• 


II 1 /? 






• 


• 




• 


• 


1 ; hK 


8 


7 
1 
5 


6 

2 


5 

3 


A 


3 


z 


1 


^ 


1 


2 


3 


4 


5 
3 


6 
I 
4 


7 
1 

5 


B 





r'N;> 





• 


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) 1^5! 


« 


• 




• 


• 








Ill 1 1^ 


• 




e 


• 








• 


.Ml \ m 




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• 








• 


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11 ; P^ 


• 


• 








• 


• 




1 1 1 >y 


• 








• 


♦ 




• 


1 11 1 .<^i< 








• 


• 




• 


• 


1 1 t ^X 






• 


• 




• 


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1 V sjw 


8 


7 


6 


5 


4 


3 


2 


1 


m 




15 


If 


13 


12 


11 


10 


9 


» 


1 


2 
6 


3 
S 


A 












1 


2 


3 


M- 


5 


e 


7 


8 




9 


10 


11 


IJ 


13 
4 


IH 
3 
5 


15 

1 
& 


1 





rjvj 



Fig. 341 



• 






o 


1 





• 


1 l^iSi 






• 




1 • 


• 


• 


III 1 1^^ 




• 






• • 


• 




III I -QMi 


• 




;• 


• 


• 






III 1 j^d 




• !• 


• 






• 


i 1 1 1 1 siuK 


!• 


•;• 




• 


till ffiW 


• 


• 


• i 


• 




II II ^Sm 


• 


• 




• 






• 


1 JRE 


4 


5 


2 
6 


1 

7 


4 


3 
5 


i 

6 


1 

7 


i 



142 



Fig. 342 



~^ 


• 


• 


• 








• 


1 I f^^^^ 


• 




• 


• 






9 




> 1 ' t 1^^^ 


• 


• 




• 




• 






> 1 ' 1 ^^i^ 


e 


• 


• 




• 








1 I 1 P^PI 








• 




• 


• 


« 


' 1 1 P^^^ 






• 




• 




• 


• 


' " > M^^ 




• 






• 


• 




• 


MM ^^^ 


• 








• 


• 


• 






8 

1. 


7 

t 
5 
2 


6 
2 
4 
■3 


5 

3 

4 


4 

5 

3 


3 

6 

2 
4 


2 

7 
1 
5 


1 
5 


^^^ 



Fig. 343 



• 


• 








• 


• 




' ^m 


• 








• 


• 




• 


111 ig? 








• 


• 




• 


• 


Ml 1 !k 






• 


• 




• 


• 




II 1 ^ 




• 


• 




• 


• 






111^ 


• 


• 




• 


• 








1 tl 1 |! 


• 




• 


• 








• 


II 1 1 P 




• 


• 








• 


• 


M 


s 

i 


7 

9 


6 
10 


5 

11 


4 

12 


3 
13 


2 

14 


I 





Fig. 344 




• 


• 








• 


• 




1 'i^ 


• 








• 


• 




• 


M^ 








• 


• 




• 


• 


1! 1 V^ 






• 


• 




• 


• 




II 'HI 




• 


• 




• 


• 






1 1 1 ra 


• 


• 




• 


•» 








1 II 1 H 


• 




• 


c 








• 


MM Wm 




• 


• 








• 


• 


^ 


4 


3 
7 


2 
6 


1 

5 


4- 
8 


3 

7 


2 
6 


1 
5 





Fig. 345 



Fig. 346 



rH- 



Fig. 347 



1 T 



-l^lV'l;^rv^.•:y^.^^«■. 





• 


• 


• 








• 


1 1 




^fsmmmm 


• 




• 


• 






• 




III 1 




• 


• 




a 




• 






1,,! \ . ,1 




• 


• 


• 




• 








Ml 1 1 










• 




• 


• 


• 


1 1 11 I 






• 




e 




• 


• 


1 1 1 1 




« 






» • 




• 


II M 


11 II 


lii 


grWiWPj^'R^^^BnillC 


* 








• 


• 


• 




1 1 


?^^^^sBkSS| 


4 


3 
7 


2 
6 


1 

5 


4 3 

8|7 


11 
6 5 




m 


l^s 






~» 




• 




• 






1 1 ^ 


ISL 


•m 


1^ 


JS^ 




• 


• 




• 




• 




1 1 1 


m 


gSn 




• 


• 


• 




• 






{III 


C^Kn 


^FrKr iH 


M^Kn 






• 


• 


• 




• 




III ffi 


m 


1 


Wk 




• 




• 


• 


• 






1 lis 


^w 






• 




• 


• 


• 




1 i 15' 


^M 




• 




• 




• 


• 




1 1 1 


jfs 


1 


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• 




• 




• 




1 1 1 


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ni 


8 

f 


7 

1 

5 
2 


6 
2 
k 
3 


5 
3 

4 


4 

5 
3 


3 

6 

2 


2 

7 
1 
5 


\ 
8 


1 


n y 


m 













Fig. 348 





• 


• 




• 


• 






1 1 3^ 


• 


• 




• 


• 








1 1 ^ 


• 




• 


• 








• 


III p 




• 


• 








• 


• 


1 


• 


• 








• 


• 






• 








♦ 


• 




• 


1 1 1 w 








• 


• 




• 


• 


1 1 ^ 






• 


• 




• 


• 




1 1 !^ 


















X 


8 


7 


6 


5 


4 


3 


2 


1 


'k 




1.5 


14 


13 


12 


11 


10 


9 




1 


2 
6 


3 
5 


n- 












1 


2 


3 


-4- 


5 


6 


7 


8 




y 


10 


11 


12 


13 
4 


14 
3 
5 


15 
2 

6 


1 






10 



Fig. 349 



143 



• 






p- 






• 


• 


1 1 


1^ 






• 






• 


• 


• 


1 1 


i 


• 






• 


• 


• 




1 1 


K 


• 






• 


e 


• 






'1 1 kit 






• 


• 


• 






• 


1 1 


b^ 




• 


• 


• 






• 




1 1 


y 


• 


• 


• 






• 






1 1 


@ 


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• 






• 


1 1 


?$ 


8 

) 
9 


7 
15 
2 
10 


6 

14 
3 
11 


5 
13 
4 
12 


n 
5 

13 


3 

11 
6 
14 


2 
10 
7 
15 


1 

9 
8 




i 



Fig. 350 



• 


• 




• 


• 






1 1 ; 


E_v 


• • 




• 


• 








1 1 i 


i* 


• 


• 


• 








• 


\ 1 




• 


• 








• 


• 




S 


• • 








• 


• 




1 1 1 


• 






• 


• 




• 








• 


• 




• 


• 


1 1 1 




• 


• 




• 


• 




1 1 1 




6 7 
1 
5 

1 2 


6 

2 

3 


5 
3 

4 


5 
3 


3 

6 

2 


2 

7 
1 
5 


1 
8 


1 





kj^ai 



Fig. 351 



144 



2 1 




Fig. 352 



Fig. 353 





• 






• 






• 


• 


' • ' m^ 






. 






9 


• 


• 


inn 1 S5^ 




• 




• 


• 


• 




II n 1 1 M^ 


• 


1 • 


• 


• 




III 1 TT^ 




|.!. 


• 






a 


, . ,1 ^^^ 




• ; • • 






• 




1 II 11 1 K^ 


• 


•!• 




• 






li II II >^S3 


• 


• 


! 


» 






• 


1 1 1 >*TO 


8 


7 
9 


6 

10 


5 
11 


4 
\1 


3 
13 


2 

14 


t 





)OT'^''J>A>/a 



s^ 



Fig. 355 



Fig. 356 



Fig. 357 



• 


— 




o 


e 


e 






1 11^ 




o 






• 


o 


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1 i 1 1 mM 






a 






» 


o 


• 


III \ ^\ 


9 






e 






o 


• 


III 1 ^ 


e 


a 






• 






e 


III 1 ^ 


« 


• 


c 






e 






III 1 ["•^rV'j 




• 


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9 




III 1 Kv^ 






o 


e 


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o 


II 1 . ^ 


8 

1 


3 

7 


2 

5 

1 


1 

5 


4 
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3 
7 


2 
6 


1 

5 


1 




Fig. 354 



• 


• 


• 




• 








1 ' ' P 


• 


• 




• 








• 




• 




• 








• 


• 


'i 'i 'i' i' M 




• 








• 


• 


• 


III \ ^ 


• 








• 


• 


• 




111!^ 








• 


• 


• 




• 








• 


• 


• 




• 




'l 'll' l' M 




• 


• 


• 




• 






III m 


8 

1 
9 


7 
)5 

2 

10 


6 

14 

3 

H 


5 

13 

4- 

12 


4 
12 
5 
13 


3 

11 

6 
H 


2 
10 
7 
15 


1 
9 

8 


i 



1 • 


• 


!• 




• 




• 


1 { \ i 


• 


• 


• 




• 




• 




Mill 1 




•!• 


•: |. 




• 


11 II j II 


• 




• 


• 


•1 


• 


ill in 




•I 


• 


• 


• 




1 1 1 1 f 


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• 


• 


1 li 11 ; 1 




•i 


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• 


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i; ii 11 I 


• 


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—i 1 1 1 ? 


s 


7 6 


5 


4 


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1 


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1 


1 


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b 


5 
7 
11 


8 
10 


9 










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1 


i^ 


3 


4 


5 
3 


6 
2 
4 


7 
1 

5 


8 
6 












9 8i7 






i 










10 


11 








Fig. 358 



« 


sni'iL 


11 IN 


• : * 

1 


. . 


i nil 1 


^ 


. .;.. ; !. 


II 11 1 1 s» 


l-.j !•!• 


1 1 1 


^ 


• ■•; ; ! 


• 1 • 


I II I y. 


^ ; 1 !• 


• ! 


9 


1 I II 1 P 




1 i«l«l !» 


• 


nil 11 


i 




• •! 


.i». 


1 i ! 


> 


t T 

8 1 7 


6 5i4i3 


1 


1 




^ 




1 


2 


3 


! 








^^ 


f 


■S 


^- 


















7 


8i9 












- 


11 


101 














1 


£ 


3 


415 


6 


t 
1 


8 














3 


2 


1 


6 














9 


6 

;o 


11 










Fig. 359 



145 





« 


• 


. 








• 


1 < ' E 


• 




• 


• 






« 




1 i II la 


• 


• 




• 




• 






II II 1 \ \ 


o 


• 


• 




• 








III 1 J 








• 




• 


• 


• 


1 1 1 1 J 






• 




• 




• 


• 


1 11 11 1 \ 




• 






• 


e 




• 


11 II II f 


• 








• 


• 


• 




II; I 


8 


7 
1 


6 

2 


5 
3 


>\ 


3 


2 


1 




6 


5 

7 
11 


4 
8 
10 


9 












1 


i 


3 


4 


5 

3 

9 


6 
2 

8 

in 


7 
1 
5 

7 
11 


8 
6 






Fig. 360 



• 


• 




"" 




• 


• 


"^ 


11 1 ' 




• 








• 


• 




• 


1 11 II - I 


' 7w 








• 


• 




• 


• 


II II 1 1 








« 


• 




e 


• 




II 1 






• 


• 




• 


• 






1 1 1 1 


9 


• 




• 


• 








111 II 1 \ 


• 




• 


• 








• 


1 II 1 1 1 3 




» 


• 








• 


• 


' i 1 i 


8 


7 


6 


5 


4 


3 


t 


I 


( 


1 


15 
1 
6 


1^ 
3 
5 


13 
4 


li 


n 


10 


9 


1 


I 


2 


3 


4 


5 


6 


7 


8 




9 


10 


n 


11 


13 


14 
3 


15 
2 


1 














5 


6 









^> 



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yv> 



Fig. 361 



146 



Fig. 362 



• 




• 


• 


• 








1 1 t j^?M?l^ll23£ 


M 




• 




• 


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• 






I i 1 > VwIh^wv'^ 






• 




• 


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• 




{ { I [ fly^^S^qWl 








• 




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9 


11 II ifl!^i!n|?n|^ 


• 








• 




• 


• 


1 1 1 1 1 I^S^^^ri 


jgSj^HH 


• 


• 








• 




• 


1 II II I iSSc^^Sw 


jKtff^nzi 


• 


• 


a 








• 




1 1 1 1 1 1 nrJ^lf^wl 


IsSf^^S 




• 


• 


• 








• 


III 1 §vWS^^!^2S 


'mnffwk 


8 


7 


6 


5 


4 


3 


2 


1 


^m 


^m 



Fig. 365 





• 


• 




• 


• 




"~" 


1 ! 1 


s.'^-' ■'•>;,' j-vvx'". '••'!'•■ 


• 


• 




• 


• 








1 ! 11 


• 




• 


• 








• 


II II 




• 


• 








• 


• 


II II 


• 


• 








• 


• 






1 1 t 1 1 


OBMOiSrSBKfSKMaBIEB 


9 








• 


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• 


1 MM 1 ^v^sSiaPiH^Ml 






• 


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III 1 k&qkpIeI^u^^S^ 


8 


7 
9 


6 

10 


5 

11 


12 


3 

13 


2 

If 


1 




mmm 



Fig. 363 



• 




• 


• 


• 








1 1 1 


wnk 




• 




• 


• 


• 






1 i II 








• 




• 


• 


• 




II 11 










• 




• 


• 


• 


II II 




• 








• 




• 


• 


1111 1 


K-fStL* 


• 


• 








• 




• 


1 111 1 1 




• 


• 


• 








• 




1 11 11 1 






• 


• 


• 








• 




3P 


4 
8 


3 
7 


2 
6 


1 
5 


4- 
8 


3 

7 


I 
6 


1 
5 




i 



Fig. 366 



• 






9 


9 


9 






, J — ■ , 

1 1 1 


• 






9 


9 


9 




i II II i 




o 






9 


9 


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Mill 1 


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9 






9 


9 


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• 9 






9 






• 


Mil 


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9 


9 






• 






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• 


9 


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9 




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1 


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•:• 




9 


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h 


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5 


2 
o 


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7 


^^ 


3 

5 


6 


1 

7 






Fig. 364 







9 


9 






9 


9 


■H^^^H^H y^^ . 




« 


• 




9 


9 






II II mm 




« 


e 


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9 




1 i ! 1 m^ 




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9 


9 






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W-'''\ 






9 


9 


9 




9 






■« 




9 






9 


9 


9 




1 Mil 1 


•^M. 






9 


9 




9 


9 




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%M,.:f 




• 






9 


9 






III! m/m 


4 
8 


3 
7 


1 

6 


1 

5 


4 
8 


3 
7 


2 
6 


1 

5 




^m 



Fig. 367 




147 



Fig. 368 



• 






• 


~ 


T 




• 


1 11/ 




9 








ft 


e 


e 


II 1 l' J 






• 




• 


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• 




1 1 1 l' '. 


e 






• 


• 




• 




Ill 1 ^ 




e 




• 


• 






• 


III 1 I 




• 


• 


• 




• 






III 1 > 


a 


• 


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• 




III 1 


^ 


• 




• 




• 






• 


111 ? 


8 


7 


6 


5 


A 


3 


2 


1 




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Fig. 369 






• 


• 




• 


• 






1 1 1 


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a 




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• 


1 1 1 1 




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• 








• 


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1 1 1 1 


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• 








• 


• 




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CHAPTER VI 
Damask Weave — Double Weave 



Damask Weave 

Figure 392 shows a most interesting ten-harness 
damask weave which may be used in weaving nap- 
kins and tablecloths. The draft is written just as 
the Norwegians write it. There will be little or no 
difficulty in accomplishing the weave after the 
threading and treadling are understood. 

It has already been stated that each horizontal 
line means a pair of heddle sticks. The draft shows 
that there are ten, divided into two sections or 
groups, marked I and II. The first group consists 
of the first five harnesses and the second group of 
the second five. 

The threading is indicated by the slanting lines 
which cross the horizontal parallel lines. Each 
horizontal line crossed by a slanting line means a 
thread. 

The first thread passes through the eye of the 
first heddle on the first heddle sticks. Each thread 
is taken in its regular order, passing through the 
eye of the first heddle on each pair of heddle sticks 
from the first through the tenth. 

The draft indicates that this order is again 



repeated. The threading now changes and the 
heddles on the first five harnesses only are used. 
This is continued for nine repeats as shown by the 



n^ 



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Fig. 392 

nine slanting lines. The third change is the same as 
the first, which threads from the first through the 
tenth. 

The entire pattern is made up by repeating the 
draft shown in Fig. 392. 



151 



152 

Threading the Reed 

Each thread passes through the eye of a heddle. 

In threading the reed, three threads may be 
drawn through each dent. Sometimes when a large 
number of threads is used to the inch, four threads 
are drawn through a dent. This makes it possible 
to use a coarser reed, thus simplifying the threading. 

"Tie-Up" 

It will be observed that each vertical line in- 
dicates a treadle. These treadles are divided into 
two groups, I and II. 

Group I operates the first five, and Group II 
operates the second five. 

The treadles are tied as indicated by the stars. 
The double set of lambs should be used. See Fig. 220. 

The treadling is done by pressing down the 
tenth treadle, then the ninth, and so on through the 
ten. This order is again repeated. From here 
only the second group treadles are pressed down in 
their regular order nine times. From here the 
treadling goes back to the tenth through the ten 
twice. This order of treadling is continued 
throughout the entire weaving. The weaver soon 
learns to repeat any order of treadling as many 
times as is necessary to produce the desired effect. 

Ten-Harness "Tie-Up" 

If the plan for "tie-up" suggested in Fig. 220 
is not used, the device shown in Fig. 393 is easily 
constructed and used to work ten harnesses. 



The lowest pulley controls the two middle 
harnesses, the one above controls the two har- 





Fig. 393 



Fig. 394 



153 











Sor-der. 


• • • 


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• • • • 




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• • • 


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• • • 


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• • • 


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• • 


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• • • • 




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43 5 
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niiiin IIIIIIII . 11 IIIIIIII n n n 


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IIIIIIII iillllll 11 iiniiii 11 11 n 




BHIilB^H 






Fig. 395 — Eight-Harness Damask Weave 



nesses, one at each side of the two center ones. 
The third pulley controls two other harnesses in a 
similar way as just mentioned. In the case of two 
small pulleys the rope passes over the two, one end 
tied to one harness and the other to another. The 
two top pulleys control the first and last harnesses. 

No heddle horses are required. 

The drawing shown in Fig. 394 shows the ropes 
tied to one end of the heddle sticks. 



Figure 395 shows the draft for an eight-harness 
damask weave written in the Swedish way. In this 
draft the space between two lines represents a pair 
of heddle sticks. 

The threading begins at the right and is read 
toward the left. When the first part is threaded, 
begin at the left of the second. 

The arrow indicates the end of the border. 

The center begins with the arrow and includes 



154 



3 2 



{ jBoTTcle-r- 



S0CL4 



3ordeY 



lit 



Fig. 396 



all threads to the left. The number of times the 
center is repeated depends upon the width the ma- 
terial is to be when finished. After the center, or 
body, has been threaded the desired number of 
times, the border is again threaded. 



Number of Threads 

In doing work of this kind there should be at 
least 45 threads used to an inch. A number 15 
reed may be used, drawing three threads through 
each dent. 

''Tie-Up" 

Figure 219 shows one way to tie up, using one 
set of lambs. 

Figure 220 shows the double set of lambs. If 

the double set of lambs is used the dots indicate 

the upper lambs tied to the treadles. The squares 

without dots indicate the lower lambs tied to the 

treadles. This method of "tie up" has already been 

explained. 

Order of Treadling 

The figures just below the dots indicating the 
"tie-up" show the order in which the treadles are 
pressed down. This has already been explained in 
detail. 

Figure 396 shows another interesting damask 
weave done with eight harnesses and eight treadles. 



155 



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Fig. 398 





Fig. 399 




iHUt 



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Fig. 400 



Fig. 401 




The tie-up is indicated by tJie dots and the order 
of treadling by the figures just below the dots. The 
"tie-up" may be with the one set of lambs or with 
the double set. 



The body part of the threading is repeated as 
many times as is necessary to give the desired width. 
The border also may be repeated several times. 

Figure 397 shows the threading for_a ten- 



157 



Fig. 402 




=^ 



^ 



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^ 



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^ 



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If 



Fig. 403 



■iH^ 






harness damask weave. There are three arrange- 
ments shown. The tie-up and order of treadhng is 
given for the first one only. The weaver has, no 
doubt, learned by this time that the threading 
indicates the treadling. 

While Figs. 398, 399, 400, and 401 do not show 
the regular damask weave, they do show good ex- 
amples of line a toweling and even good examples 
of materials that might be used in upholstering. The 
threading and ''tie-up" for Fig. 398 and Fig. 399 are 
the same. The difference in pattern is brought out 
by a difference in the order of treadling. 

The stars on the vertical lines indicate the 
order of treadling. 

The threading and "tie-up" for Fig. 400 and 
Fig. 401 are the same. The difference in pattern 
is brought out by a difference in treadling. 

Figure 402 shows a very good diagonal weave 
in eight harnesses. While this draft is not good for 
toweling, etc., it is exceptionally good for coats, 
suiting, etc. The threading, "tie-up" and treadling 
are all read from Fig. 402. 

Figure 403 is a most excellent draft for linens. 
It is not a damask weave but very satisfactory when 
used in towels. Threading, tie-up, and treadling 
are all read from the draft. 



158 




2^ 



aelyage A S A 




3x 



1 

El 



1^ 



Fig. 404 — Table Mat. Draft of Pattern 



Table Mat 



Figure 405 shows a table mat woven of No. 3 
mercerized cotton warped in two colors. The draft 
shown in Fig. 404 indicates only two changes in the 
grouping of the threads. The colors used are 
green and golden brown. The selvage is of green. 
The first group of four threads, marked "A," is of 
golden brown. 

The next four threads, marked "B," are green. 

This is repeated three times, first A and then B. 

It will be observed that the threads run in 
groups of four, A always being of golden brown 
and B of green. 

Figure 405 requires 408 threads of two colors 
to be warped as above described, a number 20 
reed, one pattern thread to a dent and two selvage 
threads to a dent of the first four and the last 
four dents of the draft. 



The woof is the same material as the warp, a 
No. 3 mercerized cotton. The binder must be a 
much finer thread and of a different color. For the 
above colors, an orange binder works in very har- 
moniously. 

The pattern lambs are tied in the following 
order : 

1 and 2 to the first treadle. 

3 and 2 to the second treadle. 

1 and 4 to the third treadle. 

3 and 4 to the fourth treadle. 

The plain weave is done by tying lambs 1 and 
3 to the right middle treadle, and 2 and 4 to the 
left middle treadle. 

Figure 405, showing the finished mat, will give 
the weaver an idea of the way in which the treadles 
are operated to produce the design as given. The 
vertical bands are unchangeable. The horizontal 



159 



bands may be made any width by repeating 1-2 
and 3-2, always using the binder after each pat- 
tern thread. 

The other combinations are 1-4 and 3-4. 

The woof is all of the same color. 

It is the way the warping is done and the 
treadling that makes the pattern. 

The table mat has the effect of double weaving 
done with four harnesses. It is really a six-harness 
pattern reduced to four. A Uttle experimenting 
will suggest a very great variety of combinations of 
stripes and squares which the operator may work out. 
The combination of threading may be varied so as 
to produce most interesting patterns. 

Rug Weaving in Wool 

Figure 406 shows another kind of double 
weave. The weave in Fig. 405 requires a binder, 
while the finished rug shown in Fig. 406 does not 
require a binder of any kind. 

Figure 407 shows the draft. 

The draft requires 240 threads. This allows for 
six selvage threads at the beginning and the end. 
Three selvage threads are drawn through the eye 
of a heddle at one time. Only two heddles are 
used for the selvage. In threading the selvage 
through the reed, draw three threads through eachi 
of the two dents. The warp is of ordinary four- 
ply carpet warp. 




11 



Fig. 405 — Finished Mat 



160 




i 



m 



Selvage. 

4. 
5 
6 



2x 8x 2x 8x 2x 

Fig. 407— Draft for Rug 



"57" 



Fig. 406 — Finished Rug 



The threading is done as shown in the draft, 
care being taken to repeat the number of times as 
indicated. 

There are about seven threads to the inch. 

Since the No. 15 reed is already in stock it 
may be used for the rug at hand, a thread being 
drawn through every other dent of the reed. 

The draft shows that there are six harnesses. 
It requires but four treadles to operate the six 
harnesses, which are tied in the following way: 

Lambs 2, 3 and 4 are tied to the first treadle. 

Lambs 3, 4 and 5 are tied to the second treadle. 

Lambs 1, 3 and 5 are tied to the third treadle. 

Lambs 2, 4 and 6 are tied to the fourth treadle. 

The double "tie-up" suggested in Fig. 220 
may be used to advantage in weaving this par- 
ticular pattern. 

To produce the pattern shown in Fig. 406, two 
shuttles are used, one with a bobbin of white wool 
and one with a bobbin of blue wool. The wool 
used is similar to that used in kindergarten weaving. 
It is a kind of carpet yarn. It is almost as heavy 
as cotton roving. 




Fig. 408 



Operation of Treadles 

Treadle four is pressed do^Mi and the shuttle 
containing the blue is passed through the shed. 
Treadle one is next pressed do"\^Ti and the white 
thread is passed through the shed. 

Treadle two is next pressed down and the blue 
used. Treadle three is pressed down and the white 
passed through the shed. This order of treadling is 
continued throughout the weaving of the entire 
rug shown in Fig. 406. 

Figure 408 shows the same threading, but a 
different order of treadling. Instead of using blue 



161 

and white for the woof, tan and brown are used. 
The weaving is started in the same way as in Fig. 406. 
After the band of one color is as wide as is de- 
sired, the opposite color is made to reverse. This 
change is brought about by passing the same color 
through the shed twice. The order of treadling is 
exactly the same. 

Sea Shell Pattern 

The draft shown in Fig. 409 is that of a six- 
harness loom. 

The draft shows that ten treadles are required 
to produce the pattern shown in Fig. 410. 

It requires 148 threads for one repeat. 

The warp is of a two-ply No. 30 Egyptian twine, 
and the woof is of a No. 5 mercerized cotton. There 
are thirty threads to the inch drawn through the 
dents of a No. 15 reed, two threads to the dent. 

The lambs are tied to the lower heddle sticks. 

The lambs are tied to the treadles in the fol- 
lowing order: 

Lambs 1 and 3 are tied to the first treadle. 

Lambs 2 and 3 are tied to the second treadle. 

Lambs 1 and 4 are tied to the third treadle. 

Lambs 2 and 4 are tied to the fourth treadle. 

Lambs 1 and 5 are tied to the fifth treadle. 

Lambs 2 and 5 are tied to the sixth treadle. 

Lambs 1 and 6 are tied to the seventh treadle. 

Lambs 2 and 6 are tied to the eighth treadle. 



162 





Fig. 409— Sea Shell. Draft of Pattern 



The plain weave is done by tying : 

Lambs 1 and 2 to the right middle treadle. 

Lambs 3, 4, 5 and 6 to the left middle treadle. 

Figure 410 shows the finished Sea Shell. It is 
a close weave and may be used for window side 
drapes, pillow tops, table runners, and because of 
the closeness of the weave it may very successfully 
be used in upholstering. 

It is perhaps the most difficult to weave because 
of the six harnesses and ten treadles. If the double 
"tie-up" suggested in Fig. 220 is used, there will be 
no difficulty in securing a good shed. 

Any shade of No. 5 mercerized cotton may be 
used. 

The draft itself indicates the order of treadling. 
It will be remembered that each dark square in- 
dicates a woof thread. In the first combination of 
threads 1 and 3 are given. This means that the 
treadle controlling harnesses 1 and 3 is pressed down 



twice for the pattern threads with a binder after 
each pattern thread. Since this method of express- 
ing the reading of a draft has previously been most 
carefully explained it will not be necessary to again 
go into detail at this time. 

Double Weaving 

Double weaving is one of the most interesting 
phases of the art of weaving. It is a branch of the 
work that amateur weavers know the least about. 
It is difficult to understand just how the weavers of 
many years ago controlled the number of harnesses 
necessary to produce the seemingly complicated 
patterns found in old counterpanes possessed by 
many of the older settlers. 

The plan of this manual is to give only a few of 
the more simple suggestions in double weave. 

In most of our old Colonial double weaves, the 
warp is of both cotton and wool. In short, there are 



163 




two distinct warps, the one of wool being placed on 
one warp beam and the one of cotton placed on 
another beam. 

The beams may be placed as shown in Fig. 411. 
An extra pair of warp beam brackets is placed below 
the pair already on the loom. Pegs are placed just 
above the ends of the lower beam to prevent it from 
being drawn upward when the warp is tightened. 
See A, Fig. 411. 

The two beams are absolutely necessary when 
the warp is of both wool and cotton because of the 
fact that wool stretches so much more than cotton. 
With the warp on separate beams the wool may 
be tightened to meet the tension of the white warp. 

The blue (if blue is used) wool warp is placed 
on the upper beam and the white cotton on the lower 
beam. Separate lease rods are used and the ends of 
the white warp are carried right over the blue warp 
beam. 

Threading the Pattern 

When threading the pattern every other thread 
must be blue, as is indicated in the draft, Fig. 412. 

The pattern shown in Fig. 413 shows a simple, 
eight-harness double weave. 

The draft is written in the Norwegian way and 
resembles that of the Damask weave. The harnesses 
are divided into two groups marked I and II. 

The circle indicates a white thread and the dot 



Fig. 410— Sea Shell 



164 

a blue one. Thread each, repeat as many times as 
is indicated by the figure below the brace. 

Threading the Reed 

Use a number 20 reed, drawing a blue and a 
white thread through each dent. 

"Tie-Up" 

The tie-up for this pattern is indicated by the 
stars on the vertical lines. 

The double tie-up using the two sets of lambs, 
Fig. 220, is the best for double weaving. 

Treadling 

The light and heavy dots on the vertical lines 
indicate the order of treadling. 

In weaving, two shuttles are required, one with 
a bobbin of blue wool and the other with a bobbin 
of white four-ply carpet warp. The first treadle to 
the right in group one is pressed down and a white 
thread passed through the shed. The second treadle 
is pressed down and a blue wool thread is passed 
through the shed. The third treadle is pressed and 
a white thread passes through. The fourth treadle 
is pressed and a blue thread passes through. The 
next treadle pressed down is the first again. 

Follow the order shown in the draft. 

The front border is woven by pressing down the 
treadles shown in the first sixteen changes just 
below the stars and indicated by the arrows. 





Fig. 411 — Placing of Beams for Double Weaving 



165 



LeffDorofer 
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Fig. 412 — Double Weave Draft. 



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T I \ 'Cv '^;.;>;.;.m«c^ ^ 



Fig. 413 

The weaver must use his own judg- 
ment in the number of woof threads to 
use. Fig. 413 shows a drawing of what 
the finished weaving should be like. 

If the warp is all of cotton, both blue and white, 
then orie warp beam is sufficient, the warping being 
done so that every other thread is blue. 




=r T 



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iht 



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Fig. 414 



Figure 414 shows the Danish way for writing 
a draft for double weaving. The threading resembles 
that of the Damask weave. 



CHAPTER VII 
Textiles and Wood 



Applications to Furniture 

Heretofore very little has been done in the 
combination of hand-woven textiles and wood, yet 
there is no combination of materials that gives such 
a large variety of artistic effects as this one. The 
different ways in which this material may be used, 
in combination with wood, are too numerous to 
mention; therefore, we shall take only those simple 
problems which are within the capabilities of even 
a sixth, seventh, or eighth-grade boy. 

Foot Stool 
The first problem that we suggest is that of a 
small foot stool, upholstered in hand-woven material. 
Fig. 415 shows the working drawing of this unique, 
but simple, little foot stool showing the wide pos- 
sibilities for individual design. Here is a problem 
that a whole class may construct, and no two made 
alike. We have given a few suggestions as to how 
the design of the legs of the stool may be altered or 
enlarged upon. The size of the stool itself may be 
changed with pleasing results by making it longer, 
lower, or narrower, so that there are any number of 



ways of changing the design of this stool without 
losing any of its artistic qualities. It is a most 
flexible problem. 

After the stool is constructed, upholster it with 
a piece of hand-woven material. This may be either 
woven by the boy himself or by the girls in the 
weaving class of the school. Here again are more 
possibilities for making each piece more individual, 
since each piece of material may be of a different 
pattern, yet all may be woven from the same thread- 
ing on the same loom. 

This material might be used wherever upholster- 
ing is possible, on a great variety of household 
furniture with most pleasing and beautiful results. 
A little touch of hand-woven material gives to 
any article upon which it is used a most subtle 
appearance. 

Figure 416 shows the completed stool made 
from the working drawing shown in Fig, 415. The 
design used for weaving the material used in up- 
holstering this stool is one of the many possible 
ones of the Rose Path pattern. 



166 



167 



Seat to be upholstered 




/\"F'e\N SuQOestions 




Mortise and Tenon or 

Dowel Constrtiotion 



-IS- 




RJ ^J 



iill of Material II 


NS 


Name 


lenfhf 


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4 


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12 


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Tfails 


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a 


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9 


£ 


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Hand to 


9 


I 


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-10^ 



FOOT STOOL 



Fig. 415 — Working Drawing of Upholstered Foot Stool 



168 




Fig. 416 — Finished Foot Stool 
Waste Basket 

Figure 418 shows the working drawing of a 
very simple waste basket that any sixth-grade boy 
could build without much difficulty. The only 
difficulty is in boring the holes at the proper angle. 

Two pieces of cloth are woven the length of 
two sides and the bottom. Hems are sewed at both 
ends so that when the dowel rods are placed through 
the hems and then put in place, the cloth will hold 
the basket together. It is necessary to have the 
cloth stretched very tightly in order to have the 
basket rigid. 

Figure 417 shows the finished waste basket. 
The border around the top of the cloth is woven 
with the Rose Path pattern. 



If the tapering of the sides of the waste basket 
seems too difficult, a straight sided sewing basket 
may be constructed as shown in Fig. 419. The con- 
struction is the same as for the waste basket. The 
design of the hand-woven cloth is another possi- 
bility of the Rose Path pattern. 

Screens 

There is no article of furniture in which hand- 
woven cloth may be used so effectively as in a screen. 
Fig. 420 shows the ^ working drawing of a screen 
in which the panels are of hand-woven material. 




Fig. 417— Finished Waste Basket 



169 



i^ 




Cloth Bottom 




IQ-i 



Cioth Sides 




m 





Dill of Material l| 


NC 


Name 


Lsn^ht Width 


rh>eKn«ai 


4 


Foars 


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D Rods 


64 


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Cloth Sid«a 



WA5TE: BASKET 



Fig. 418^ — Working Drawing of Waste Basket 



170 




Fig. 419 — Finished Sewing Basket 

The inner sides of each frame are grooved the 
same as for a wooden panel; a key is made to fit 
loosely into this groove. The cloth is placed over 
the groove, the key placed on top the cloth over the 
groove, and then forced down into the groove. This 
makes a very good way of fastening the cloth to the 



frames. A few finishing nails may be driven through 
the key into the frame to hold the key in place. 

That this combination makes a beautiful as 
well as useful piece of furniture may be seen from 
the photograph shown in Fig. 421. The cloth is 
woven from the Orange Peel pattern, a border being 
woven at the top and bottom to break up the space. 

Though the construction of this screen is 
simple, it should be made as a group problem 
rather than an individual one; the boys to make 
the frame, and the girls to weave the cloth. 

Figure 422 shows the working drawing of 
another very attractive screen of different construc- 
tion from the first one mentioned. In this screen 
build the inside frames as shown, of any lumber, 
then cover both front and back with the cloth, 
tacking it along the outside edges of the frames. 
Make the grooved strips as shown, and tack them 
on the outside edges of the frame, covering up the 
edges upon which the cloth has been tacked. This 
gives a very neat and effective finish to the screen, 
since all of the frame that shows is the little grooved 
moulding on the outside edges. 

Figure 423 shows how attractive this kind of a 
screen can be made to look by just using strips of 
hand-woven cloth, embroidered with rope silk. Ob- 
serve how beautifully the panels are broken by 
skilful designing. 



171 



-20 



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W 16 ■ 



Woven Cloth insert 



14- - 
-16 - 
-60 






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Nome 


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"Rails 


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Cloth 


64 


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6 


Keys 


63 


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__lla 




Key--|;t 



Cross Section Thru A'B 
Showing method of inserting cloth 



5CRI.EN 



Fig. 420 — Working Drawing of Screen 



172 




173 



4-P 



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Clolh to be tacked 
at outer edgeioj 



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Fig. 422 — Working Drawing of Screen 



174 




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I 



CHAPTER VIII 

The Design and Construction of Looms 

Danish Loom 
The following cuts show the working 
drawings for both the Danish and Swedish 
looms. If light work only is desired then 
the Danish loom shown in Fig. 424 is 
the loom to construct. Fig. 425 shows 
the front working drawing. Fig. 426 shows 
the side and Fig. 427 shows the detail 
drawings of the various parts. 

Swedish Loom 

Fig. 428 shows the completed Swedish 
loom. If space is available this is the loom 
to have. On this loom may be woven 
very fine articles as well as the Colonial 
rugs. On the Danish loom only the lighter 
work can be successfully woven. Fig. 429 
shows the working drawing for the front of 
Swedish loom. Fig. 430 shows the side, 
and Fig. 431 shows the detail drawings 
of the beater, warp beam, heddle sticks 
and other movable parts. 

12 




175 



Fig. 424 — Sketch of Danish Loom 



176 



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^^ 




177 




178 



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Warp and Cloth E)eams-MaKe a "T a*" 



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■Ratchet Wheels-Makes 



Method of fastening Loom 
together 



3^ 

31 



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■Rollers-MaKe a. 



Horse5-MaKe A 



Fig. 427 — Working Drawing of Loom — Details 



179 




Fig. 428 — Finished Loom — Swedish 



180 



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Hr 



rf- 



t 



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III 

Hi 



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— 3- 



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Fig. 429 — Working Drawing of Swedish Loom 










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IT 



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Fig. 430 — Working Drawing of Swedish Loom 









L 



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182 



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MaKe 4 



o: 



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dracket 
Make e 



Cloth Beam 



Fig. 431 — Working Drawing of Swedish Loom — Details 



CHAPTER IX 
Dyes and Dyeing 



When we come to the coloring of materials to 
be used in textile work a field is entered that has 
been only partially explored. 

It is true that vegetable dyes may be duller 
and that they do not run through such a lengthy, 
diverse and brilliant gamut as the various branches 
of aniline. But, they are apt to be more permanent 
and they are so softened by the mellowing touch of 
time, as to gain with age an exquisite combination 
of color values, altogether inimitable. 

It is claimed that the Shah of Persia punishes 
with death, the man who brings aniline dyes into 
his kingdom. Vegetable dyeing is a fascinating part 
of textile work. When one is interested he is led to 
make many new discoveries. 

Utensils Used 

Copper kettles are the best and when possible 
should be used in vegetable dyeing. Tin is good 
for bright colors but is affected by acids. Iron is 
good for certain plants but is very hard to keep clean. 
Brass may be used but is not so good as any of the 
other above named utensils. Enameled ware may 



be used but should never be used for food purposes 
after dyeing. 

Cleaning of Utensils 

The untinned copper kettles are best cleaned 
with fine sand and a little sulphuric acid. Vinegar 
or sour milk may be used. 

Washing of Wool 

All materials to be dyed must be thoroughly 
clean. 

Wool is usually washed but very little before 
spinning. To obtain the best results the skeins of 
yarn must not be too thick. Ordinarily 80 grams in 
weight to the hank is quite sufficient. The finer the 
yarn, however, the less there should be to the hank. 
It must be remembered that to obtain definite re- 
sults care must be taken to weigh all materials to 
be dyed and to hold to definite measurements. 

Water Used in Washing 

Rain water is the best for washing purposes. 
All newly spun and unwashed wool must be washed 
three times in lukewarm water. 



183 



184 



The first washing is done in eight parts of water 
containing 200 gr. of soda. 

The second washing is done in 10 parts of water 
to 100 gr. of soda and 200 grams of good soap equal 
in quality to Ivory soap. 

The third washing is done in 10 parts of water 
and 110 grams of soap only. 

Care should be taken not to wash too large a 
quantity of wool at one time. From 2 to 5 kilo- 
grams in the bath at one time is quite sufficient. 

If the wool is very dirty wash it in two solu- 
tions of soda and water and then proceed as above 
directed. 

The washed material is first rinsed in lukewarm 
water and then in several cold waters. 

Mordant 

All material is mordanted before dyeing. Some- 
times the mordant is placed in the dye itself but 
more often the material itself is mordanted before 
placing in the dye. Alum is a useful mordant for 
most vegetable dyes. When alum is used it must 
be boiled in order to become thoroughly dissolved. 
All goods must be wet before entering the mordant. 

If vitriols are used in mordanting they must be 
placed in lukewarm water only. Mordant materials 
from 1 to 2 hours. 

When mordanting the material should be well 
covered with water. 



Formulae for Dyeing 

The following recipes have been successfully 

tried out and are offered to those who are interested 

enough to not only use what is here suggested but 

will make further investigation in the broad field 

of vegetable dyes. 

Yellows 

1. Wax Yellow 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

Fresh bayberry leaves .... 500 gr. 
Mordant before dyeing, boil the leaves one 
hour, drain, add material and boil one hour. 

2. Greenish Yellow 

Yarn 250 gr. 

Fresh wild parsley 1 kg. 

Alum (mordant) 35 gr. 

Boil the parsley one hour, drain, add the alum, 
stir well until alum has dissolved. Boil material in 
solution from | to 1 hr. 

3. Greenish Yellow 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

Fresh alder 1 kg. 

Mordant the material first. Boil the leaves 1 
hr., drain, add mordanted material and boil | to 1 hr. 

4. Strong Greenish Yellow 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Bayberry leaves 500 gr. 



Mordant the material first. Boil the fresh 
leaves 2 hr., drain and add mordanted yarn, boil 
from 1 to 2 hr. according to darkness of color desired. 

5. Greenish Yellow 

Yarn 250 gr. 

Dry birch leaves 500 gr. 

Alum (mordant) 32 gr. 

Soak the leaves the day before using. 

Boil the soaked leaves for one hour and strain. 
Add the alum to this solution and boil yarn in it 
from I to 1 hr. 

If the yarn is dried without rinsing and then 
placed in a weak birch ash lye the color becomes a 
reddish yellow. 

6. Reddish Yellow 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Dry apple bark 250 gr. 

The material is first mordanted in the alum 
water. 

Cut the bark into small pieces and soak the 
day before using. It is then boiled two hours and 
strained. 

Boil the mordanted yarn in the bark liquid 
from ^ to 1 hr. 

By using more bark and boiling longer a darker 
yellow is obtained. 

This color fades a little if it is not very dark. 



185 

7. Gray Yellow 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Kinnikinnic 1 kg. 

Chop the kinnikinnic fine and boil for 3 hr. 
Drain and boil the mordanted material in the liquid 
from I to 1 hr. 

8. Brownish Yellow 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

Alder bark 2 kg. 

Mordant the yarn in the usual way. Chop the 
alder bark fine, and soak the day before using. Boil 
from 2 to 3 hr., drain and boil the yarn in the liquid 
1 hr. or longer according to the depth of color de- 
sired. 

Reds 

9. Dark Red 

Yarn 250 gr. 

Alum 65 gr.\ i\/r j -*. 

^ ^. , ^a } Mordant 

Cream of tartar Id gr.J 

Madder 250 gr. 

Mordant the yarn for two hours and let it re- 
main in the liquid till cool, then rinse in lukewarm 
water. 

The yarn may be allowed to dry after removing 
from the mordant; then it is rinsed in warm water 
before it is put in the madder liquid. 



186 



The madder is put to soak the day before it is 
to be used in enough cold water to make a very thin 
solution. 

If there are hard lumps they must be rubbed 
apart in order to thoroughly soak. When ready to 
dye the soaked madder mass is put in clean cold 
water and when lukewarm the mordanted yarn is 
added. 

This is heated slowly to 60 degrees or 70 degrees 
Centigrade or hot enough to burn one's fingers. 
Stir the yarn constantly and keep the solution at 
the same temperature as long as the yarn is in it. 
It must not boil. If the yarn is not stirred it becomes 
spotted as that part of the madder liquid that heats 
the quickest gives a stronger color than the other. 
The red coloring matter in the madder dissolves 
without boiling, but with boiling the other ingredients 
in the madder are also dissolved and these cause the 
red color to lose its brightness and change it to 
brown. When the yarn has been in the madder 
liquid for the required time it is allowed to remain 
in the solution until cool. Keep stirring until cool. 

It is then rinsed and washed in several waters 
to remove the loose madder. 

When the yarn is allowed to dry after being 
mordanted the red color becomes a little darker. 
All dark madder colors are absolutely fast. The 
lighter ones fade a little as the years go by. 



10. Medium Madder Red 

Yarn 250 gr. 

Alum 40 gr.) ii/r j + 

r^ c , . -Id } Mordant 

Cream oi tartar lo gr.j 

Madder 175 gr. 

Treat the same as No. 9. 

11. Light Madder 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Madder 125 gr. 

Mordant the yarn one hour and keep it in the 
warm color liquid from | to 1 hr, 

12. Light Yellowish Red 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Madder 75 gr. 

Mordant as in No. 11 but keep the yarn in the 
color liquid only ^ hr. 

13. Pale Red 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

Madder 25 gr. 

Treat as in No. 12. . 

14. Rose Red 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Madder 50 gr. 

Mordant the yarn as usual; when cool wrap 
the wet material in a cloth so it does not dry out. 



Allow it to lie in this way from 6 to 8 days. It is 
then treated with madder as above mentioned. 

The yarn should be squeezed in a little luke- 
warm water before putting it in the color liquid. 

15. Terra Cotta 

Yarn 250 gr. 

Alum * 48gr.\ Twr„„j„„. 

Cream of tartar 16 gr. f ^^^o^^lant 

Madder 125 gr.' 

Oak gall 13 gr. 

Mordant the yarn as usual. 

When the madder liquid is lukewarm add the 
yarn and heat slowly, allow it to boil f hr. Remove 
the yarn and to the liquid add the finely powdered 
oak galls. 

The yarn is again placed in the color liquid 
and boiled for | hr., when it is removed and allowed 
to dry. 

If more color is used the yarn will be darker, 
and if from 3 to 10 gr. of iron vitriol is added it be- 
comes browner. 

How to Add Vitriol: When this is added the 
yarn is first removed and the vitriol is allowed to 
melt in the boiling liquid. This is cooled by adding 
a little cold water. The yarn is now returned and 
boiled for a few minutes, then it is removed, cooled 
and rinsed. 

The lighter madder color may be had by color- 
ing the mordanted yarn in the cool liquid left in 



187 

No. 9, 10 or 11. These colors are somewhat more 
of a yellowish color than when fresh madder is used. 
By using stronger or weaker mordants and 
more or less madder many colors not mentioned in 
these recipes may be made. 

It must always be remembered that a strong 
mordant is used when a dark color is desired. 

16. Cardinal 

Yarn 250 gr. 

Tin 4gr.l 

Nitric acid 50 gr. [■ Mordant 

Water 150 to 200 gr.J 

Cream of tartar 50 gr. 

Cochineal 100 gr. 

The cream of tartar and the cochineal are 
soaked. When the water for the coloring is boil- 
ing add the cochineal and cream of tartar and boil 
for ten minutes. Keep the liquid well skimmed. 
After the scum has been removed add the yellowish 
solution of tin, water, and acid and stir well. Put 
in the dry yarn, turning it quickly around and later 
more slowly. Boil from 1 to 1| hr., according to 
darkness of color desired. Remove, cool and dry. 

17. Purple Red 

Yarn 250 gr. 

Tin 4gr.] 

Nitric acid 25 gr. [^ Mordant 

Water ..75 to 100 gr.J 



188 



Cream of tartar 50 gr. 

Cochineal 50 gr. 

Treat the same as in No. 16. 



18. 



Mordant 



Bright Red 

Yarn 250 gr. 

Tin...... 8gr.^ 

Nitric acid 50 gr. ► 

Water 150 to 200 gr. 

Cream of tartar 50 gr. 

Cochineal 25 gr. 

When the water for the coloring comes to a 
boil, put in the cream of tartar and let it dissolve; 
add the cochineal. Boil for 10 minutes, keeping the 
scum skimmed from the surface of the boiling mix- 
ture. 

Add the yellowish tin solution as in No. 17 
and put the dry yarn into the boiling mixture, turn 
it quickly around and later turn a little more slowly. 
Boil 1 hr. 



19. 



Flag Color 

Yarn 250 gr. 

Tin 8gr. 

Nitric acid 50 gr. 

Water 150 to 200 gr. 

Cream of tartar. . 50 gr. 

Cochineal 50 gr. 

Treat the same as in No. 18. 



Mordant 



20. 



Dark Carmine 
Yarn 



,250 gr. 



Cream of tartar 16 gr.l -f,,. ; ^ 

Alum 8gr./ Mordant 

Cochineal 16 gr. 

Mordant the yarn for 2 hrs. and cool. In 

fresh water put the powdered soaked cochineal and 

boil for 15 minutes. 

The yarn is added and boiled for 2 hrs., when 
it is taken out and dried. 

21. Carmine 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Mordant the yarn as usual. 

Boil the yarn for | hr. in the solution left in 
16 or 17. The color becomes lighter after the use 
of No. 17 than after No. 16. 

22. Light Carmine 

Yarn 250 gr. 

Alum 32 gr. 

Cream of tartar 32 gr. S> Mordant 

Starch 32 gr. 

Cochineal . 15 gr. 

Cream of tartar 6 gr. 

Mordant the yarn 1 hr. 

The starch must be mixed with a httle cold 
w^ater before it is added to the mordant. 

Boil the soaked cochineal and cream of tartar 
in fresh water for 15 minutes. 

The mordanted yarn is boiled in this from | 
to 1 hr. 



23. Dull Carmine 

Yarn 250 gr. 

Alum 50 gr.\ ^/r -, . 

Cream of tartar 32 gr.j Mordant 

Cochineal 25 gr. 

Madder 20 gr. 

Starch [ 13 gr. 

Mordant as usual. 

Soak the cochineal and the madder together 
and boil for 10 minutes. 

Dissolve the starch in cold water and put it 
in before the varn is added to the cold solution, 
boil from | to 1 hr. 

24. Rose Red 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

Boil I hr. in mordant. 

Boil I hr. in solution left in 17. If the color 
is to be of a light shade double the amount of yarn 
or throw away half the color solution and add clear 
water. 

25. Salmon Red. 

Yarn 250 gr. 

The dry unmordanted yarn is boiled from f 
to I hr. in the solution left in No. 18 or No. 19. If 
more yarn is taken the color becomes lighter; it is 
also lighter when using No. 18 than when using 
No. 19. 



189 

26. Red from Brazil Wood 

Yarn 250 gr. 

Alum 40 gr.l 

Cream of tartar 16 gr.j Mordant 

Madder 40 gr. 

Brazil wood 40 gr. 

Potash 7 gr. 

Mordant as usual, after which the yarn is 
placed in madder solution as described in No. 9 
and allowed to remain 1 hr. The Brazil wood which 
has been soaked is placed in a bag and this is boiled 
in clean water i hr. The bag is now removed and 
the madder colored yarn is now boiled in this solu- 
tion from I to 1 hr. Let it lie in this solution till 
cooled a little. Then it is taken out and the potash, 
which has been well dissolved, is added to the solu- 
tion and the yarn is re-entered and left for 10 or 
15 minutes. Allow the yarn to remain in the solu- 
tion till cool and then wash in strong soap suds. 
This is an inexpensive red blue color but it is not so 
pretty as the Salmon Red. 

27. Red 

Yarn 250 gr. 

Alum 40 gr.' 

Cream of tartar 16 gr.^ 

Bed straw roots 250 gr. 

Mordant the yarn from 1 to 2 hrs. 
The dry roots are ground or chopped fine and 
put to soak. 



Mordant 



19a 

During the dyeing the yarn is treated the same 
as was described in No. 9, for madder coloring, but 
in this case the yarn is boiled a little toward the end , 

28. Dark Red. 

Yarn 250 gr. 

Ground pine (mordant) . . . 250 gr. 
Madder or bed straw 250 gr. 

Mordant the yarn in ground pine in the fol- 
lowing way: 

The ground pine is chopped fine and soaked 
in as much water as is needed for the dyeing. This 
mixture is heated every day and must remain in a 
warm place where it can be kept lukewarm. After 
3 or 4 days it acquires a sour smell. Boil well and 
strain. As it boils add a little water. In this strained 
solution put the wet yarn and heat every daj' for 
three or four days and let it stand in a warm place. 
The last day boil well. 

The yarn will then have a light yellowish, 
green gray color and a sour smell. 

The yarn is now rinsed and allowed to dry be- 
fore it is colored red. 

The madder is prepared as described in No. 9. 
Before the yarn is put into the red dye it must be 
well squeezed in warm water. 

The Preparation of Olium 

The Norwegians succeed in getting most beauti- 



ful shades of blue through the use of what they call 
Olium, which is made in the following way : 

Indigo is dissolved with sulphuric acid by mixing 
15 gr. powdered indigo with 125 gr. of smoking sul- 
phuric acid. Put about 10 gr. of sulphuric acid and 
a little indigo — say 2 gr. — ^in a glass jar or bottle 
with a well fitting stopper. Stir this till it is smooth. 
Use a glass rod, or if necessary a hardwood stick. 
Metal must not be used. After this, put a little of 
each into the jar and stir, and so continue until all 
has been used. Put stopper firmly in bottle and al- 
low the mixture to stand at least 24 hours before 
using. 

When using, weigh or measure the Olium in 
a dry glass and pour carefully into cold water be- 
fore placing in the dye. Never pour water into the 
Olium, as it effervesces and may injure the eyes. 
When the Olium is kept in an air tight bottle, it 
may be kept for a long time. 

All the recipes for blue which follow, are based 
on Olium measured in a graduated glass. If weighed, 
take double as many grams. If the sulphuric acid 
is poor, the indigo will not dissolve, and the color 
will run. To prove that the indigo is well dissolved, 
take a few drops of the Olium, mix with water, and 
strain through a filtering paper. If the filtered dye 
is still blue, then the indigo has been properly dis- 
solved, but if not, the dye will be white or light blue. 



When Olium is to be used in dyeing, it should 
be measured or weighed in a dry glass, as before 
described, and dropped or poured slowly into the 
lukewarm water and well stirred. 

~ If the color is too light, more Olium may be 
added, but some of the boiling dye liquid must be 
thrown away, and the remainder mixed with cold 
water before the Olium is added. If the liquid is 
too warm, when the goods is put in, it becomes 
streaked or clouded, even though it has been dyed 
previously. As soon as the yarn has been boiled in 
the dye, it will be seen whether it is too light as by 
that time all dye will have been drawn into the 
goods. If in the heating, it is getting too dark, a 
part of the liquid is thrown out and the remainder 
lightened with water before continuing the dyeing. 
When dyeing with Olium, the liquid must only be 
lukewarm when the goods is put in and it must be 
quickly stirred and kept in constant motion until it 
boils. 

By using more or less Olium, many color shades 
and tints in blue may be obtained by using the 
following recipes. ^lue Dyes 
29. Dark Soldier Blue 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium 20 to 30 gr. 

The yarn is mordanted as usual, and is then 
dyed red in the used liquid remaining after dyeing 

13 



191 

cochineal red. Dry the yarn. Add 10 gr. Olium to 
clear lukewarm water, and stir well. Add the red 
dyed yarn which has first been dipped in warm water 
and heat, stirring constantly; boil for | hr. and dry. 
When dry, it is again wrung in warm water so that it 
becomes thoroughly wet. To the new lukewarm 
water, is added 10 gr. Olium and the yarn is again 
dyed as at first. Boil 1 hr. and dry. If one desires 
the yarn still darker, the dyeing must be repeated 
with 10 gr. Olium. When the dyeing is completed, 
it must be dried before washing. 

If there is no red liquid which has been used, 
the yarn must be mordanted as No. 21, and a dye 
liquid made of cochineal (10 to 15 gr.). For the 
rest, handle as above. 

The darker the blue that is wanted, the darker 
must be the red of the under dye, with the cor- 
responding amount of Olium added. 

30. Light Soldier Blue 

Yarn 250 gr. 

^j!^^ ^^S'^-) Mordant 

Olium 15 gr. j 

Madder 5 gr. 

Olium 10 gr. 

The yarn is mordanted as usual. Fresh water is 

added to the soaked madder, and in this the yarn is 

dyed red as in No. 23, and then dried. 

The Ohum is added to lukewarm water and 

well stirred. The red dyed yarn is added. (The yarn 



192 

must first be wrung out of warm water.) It is then 
heated slowly, stirred constantly and boiled 1 hr. 
Handle as above. 

It may also be dyed red in used madder liquid. 

31. Greenish Blue 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium 8 gr. 

When the yarn has been mordanted, it is dyed 
light yellow in one of the used yellow dye liquids. 
It is wrung out of this and then dyed blue as above, 
If a paler dye is wanted, add 5 gr. of iron sulphate 
after it has been dyed blue, and boil 10 to 15 minutes. 
It may now be washed without first drying. 

Goods dyed with iron sulphate must be left 
well covered by the dye until cool, unless they are 
constantly stirred in the dye. This liquid forms a 
crust on the surface in the cooling which spots the 
goods or yarn near the surface. 

32. Dull Medium Blue 

Alum (mordant) 40 gr. 

Olium 8 gr. 

Madder 15 gr. 

The yarn is mordanted as usual. Some of the 
mordant water is thrown away and enough cold 
water is added to make the liquid lukewarm. Add 
the Olium, stir well, put in the yarn and heat slowly, 
stirring constantly. 

Boil I hour and take out. Add enough cold 



water to the liquid to make it lukewarm and add the 
dissolved madder and stir well. Add the yarn and 
heat slowly, stirring constantly and evenly. Boil 
^ hr., then cool, rinse and wash. 

33. Bright Medium Blue. 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium 5 gr. 

The yarn is mordanted and dyed as above. 
When it is through boiling in the dye liquid the 
yarn is cooled, rinsed and washed. 

34. Light Blue. 

Yarn 250 gr. 

Alum (mordant) 30 gr. 

Handle the same as above. 

35. Water Blue 

Yarn 250 gr. 

Alum (mordant) 30 gr. 

Olium 5 to 10 drops 

Handle as above. 

The lighter colors with Olium are not abso- 
lutely fast. They become slightly greenish after 
being used and cannot be washed in soda water. 

36. Dark Blue with Ground Pine 

Yarn 250 gr. 

Ground pine 250 gr. 

Logwood 100 gr. 

The ground pine is chopped fine and soaked 
in as much water as is needed for the dyeing. The 



whole is heated daily and is placed where it can be 
kept lukewarm. When after three or four days it 
has acquired a sourish odor, it should be well boiled 
and strained. The water will diminish in the boil- 
ing, therefore sufficient water must be added so that 
there is enough for dyeing. When the ground pine 
has been strained, the wet yarn is placed in the 
liquid and heated every day for three or four days 
and kept in a warm place. The last day it is boiled; 
the yarn should then have a light, yellowish, green 
gray color and a sour odor. 

The logwood, which was put to soak the day 
before, is placed in a bag and boiled in clear water 
1 hr. and then removed. The yarn is now wrung 
out of the ground pine liquid and boiled in the log- 
wood liquid I to 1 hr. It is then taken out and dried. 
When dry, place it for several hours in a weak birch 
ash lye and wash. The lye is made by putting the 
ashes in warm water. 

With more logwood, a darker color is obtained. 

This color is fast for covering but should not 
be used for finer covers or rugs. In time it becomes 
slightly grayish in color. 

37. Dark Blue with Chickweed 

Yarn 250 gr. 

Fresh chickweed 1 pail 

Alum (mordant) 32 gr. 

Logwood — 50 gr. 



193 

The chickweed is boiled 1 hr. and drained. 
The alum is added to the liquid, and well stirred. 
The wet unmordanted yarn is taken, and added to 
the liquid and boiled 1 hr. and taken out. A small 
bag filled with the soaked logwood is boiled in the 
liquid f hr. 

Add the yarn and let it boil 1 hr. with the log- 
wood bag. 

The yarn lies in the liquid until cold. 

If a darker dye is wanted, use more logwood. 

Green Dyes 

The pure green colors are always composed of 
a yellow and blue dye stuff. These are mostly made 
by first dyeing the goods blue, and then boiling it 
in a yellow dye. To obtain a dark green the blue 
foundation must be made dark enough the first time. 
No amount of boiling in the yellow dye will make the 
goods darker. By adding madder or iron sulphate, 
the green will become darker but it is another tone, 
gray or brownish. 

Certain plants give a green dye without using 
blue. The yellow dye in these plants will, by the 
addition of an iron or copper salt, become green, 
but the yarn will have a shade of gray or brown. 

Green with Birch Leaves 

For these dyes, both fresh and dried leaves may 
be used. Three kg. fresh leaves make 1 kg. dried 
leaves. 



194 



We must therefore count on using three times 
as much fresh leaves as dried in the dyeing. The 
recipes are made on the basis of dried leaves. The 
leaves are soaked the day before and are boiled in 
enough water to make the necessary dye liquid and 
are then strained. The boiling is done so that all 
dye material in the leaves may be had. After strain- 
ing, the leaves are rinsed with a little clear water, 
and this is added to the liquid which is cooled 
while one is dyeing the yarn blue. 

The yarn is mordanted with the amount of 
alum called for in the recipe. 

When dyeing blue, throw out half the mordant 
water and add clear cold water and the proper 
amount of Olium. 

Olium is measured in a graduated glass or is 
dropped (counting the drops) carefully into the water 
which has been heated to about 20° C, and is well 
stirred. The wet, well wrung yarn, already mor- 
danted, is placed immediately in the lukewarm 
blue liquid. It is stirred and turned quickly around 
with a stick. This is kept up constantly and while 
the liquid is slowly boiling. By that time, all the 
dye-stuff will have been absorbed by the yarn and 
it may be left to boil slowly | hr. 

Unless one is exceedingly careful in the blue dye- 
ing, the yarn becomes clouded and this cannot be 



corrected later, but becomes more noticeable when 
dyed green. 

When the yarn has been dyed, it is cooled in 
the liquid before it is taken out. It is then well wrung, 
put again on the stick and placed in the milk-warm, 
(about 30° C,) birch-leaf liquid. It is constantly 
turned and kept in slow motion until through 
boiling. The longer it is kept in the birch-leaf 
liquid, the stronger the green color. It should not 
boil more than 1 hr. If the yarn is not dark enough, 
due to poor leaves, it must be boiled for half an hour, 
in new birch-leaf dye after having been dried. It 
must be thoroughly wet in warm water before being 
placed in the new dye. The goods is allowed to lie 
in the dye until cold unless the color is becoming too 
strong. In that case, it is taken up at once and 
cooled. The color is intensified by having the ma- 
terial lie in the warm dye until it is cold. 

If there are to be several dyes in green, these 
can well be boiled in the same birch-leaf dye. It is 
necessary to calculate in advance the proper amount 
of leaves and to make up separately the blue dyes. 

If the birch-leaf dye is to be used for after- 
dyeing, it must be cooled before new yarn can be 
placed in it. 

The dull blue green dyes may also be boiled in 
the same birch-leaf dye that the light fresh green 
colors were boiled. 



For the light after-dyes, add to the cooled dye 
1 to 5 drops Olium, if only light colors have been 
boiled in it and it contains no blue. 

Whenever dark dyed blue has been boiled in 
the birch leaf, some of the blue remains. 

Yarn and cloth are handled in the same way, 
with the exception that wool is to be boiled slowly, 
while cloth is boiled quickly and kept in constant 
motion. 

Variations of the birch-leaf dyeing are endless 
among the following recipes: 

38. Dark Blue Green No. 1 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 5 gr. 

Birch leaves 1 kg. 

Boil in birch-leaf liquid f to 1 hr. according 
as a more or less blue-green color is desired. 

39. Dark Blue Green No. 2 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 3 gr. 

Birch leaves 1 kg. 

Boil in birch-leaf liquid 1 hr. 

40. Medium Blue Green 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 2 gr. 

Birch leaves 750 gr. 

Boil in birch-leaf dye 1 hr. 



195 

41 . Light Blue Green 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

OHum (blue dye) 1 gr. 

Birch leaves 500 gr. 

Boil in birch-leaf dye | to 1 hr. 

42. Dark Strong Green 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 3 gr. 

Birch leaves 1| kg. 

Boil in birch-leaf dye 1 hr. 
If the dye is not green enough, dry the yarn 
and boil again in a new strong birch-leaf dj^e ^ to 
Ihr. 

43. Bright Medium Green 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 1 gr. 

Birch leaves 1 kg. 

Boil in birch-leaf dye | to 1 hr. 

44. Light Green 
Yarn . 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 1 gr. 

Birch leaves 1 kg. 

Boil in birch-leaf dye | to 1 hr. 

45. Yellow Green 

Yarn 250 gr. 

Alum (mordant) 30 gr. 



196 

Olium (blue dye) ......... 15 drops 

Birch leaves 1 kg. 

Boil in birch-leaf dye | to 1 hr. 

46. Dull Grass Green 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) li gr. 

Birch leaves 1 kg. 

Iron sulphate 2 to 5 gr. 

Boil in birch-leaf dye 1 hr. 
When the yarn has boiled in the birch-leaf dye, 
it is taken out of the liquid and the iron sulphate is 
added and stirred well. The liquid is cooled with a 
little cold water, the greea dyed yarn put in again 
and is boiled, stirriag constantly for 10 or 15 minutes. 
The yarn must not lie in this liquid, but must 
be taken out as soon as boiled. 

47. Gray Green 

Yarn 250 gr. 

Olium (blue dye) 2 gr. 

Birch leaves 1 kg. 

Common madder 25 gr. 

Iron sulphate vitriol 4 gr. 

Boil in birch-leaf 1 hr. and then take out. 
Cool the liquid and add the 25 gr. soaked madder. 
Place the yarn in the cooled liquid and let it boil 
J hr., take it out, add the iron sulphate, cool, put in 
the yarn, and boil | hr. 

Handle as above. 



48. Pale Blue Green 

Yarn 250 gr. 

Alum (mordant) 30 gr. 

The mordanted yarn is placed in the cooled 
after-dye, of No. 50, and slowly heated to the boiling 
point. Boil | to 1 hr. 

49. Pale Yellow Green 

Yarn 250 gr. 

Alum (mordant) 30 gr. 

Boil in the same manner as suggested in No. 
40, 42 and 43. 

50. Olive Green with Heather 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Fresh heather tops 1 to 2 kg. 

Chop the heather and soak and then boil 4 
hrs. in a polished iron kettle. When the liquid is 
put back, the yarn is boiled slowly 1 to 2 hrs. ac- 
cording to the darkness of color desired. Let it lie in 
the dye till cool, but it must be stirred occasionally. 
If the liquid is allowed to form a crust, this will 
spot the yarn. 

51. Gray Green with Bayherry 

Yarn . 250 gr. 

Alum (mordant) 40 gr. 

Dried bayberry leaves 500 gr. 

Iron sulphate 10 to 20 gr. 

Soak the bayberry leaves and boil 2 hrs. The 
mordanted yarn is boiled in the strained liquid for 



1 hr. and is then taken out. Add the iron sulphate 
and when this is dissolved add a little cold water. 
Place the yellow dyed yarn in the cooled liquid, heat 
slowly, stirring constantly and let it boil 5 to 10 
minutes. Take it out and cool. 

52. Myrtle Green 

Yarn 250 gr. 

Potassium chromate 4gr.lT./r j ^ 

Cream of tartar 4 |r./ Mordant 

Mulberrj'^ wood 90 gr. 

Logwood 25 gr. 

The potassium chromate and the cream of 
tartar are dissolved in boiling water, and enough 
cold water added to make the liquid lukewarm. 
Place the wet yarn in this and heat slowly, stir, boil 
one hour and let it lie in this mordant until cold. 
Rinse in clear water before placing in the dye. The 
mulberry and logwood are put to soak the day 
previous. They are put in a bag and boiled in clear 
water 2 hrs. Take out the bag and boil the wet 
mordanted yarn in this dye 2 hrs. If there is room 
in the kettle, time may be saved by boiling the yarn 
with the bag the last hour. If more logwood is used, 
the color will be darker — ^less logwood makes it 
lighter. 

53. Dark Grass Green. 

Yarn 250 gr. 

Mulberry 80 gr. 



197 

Alum 40 gr. 

Olium 10 gr. 

The mulberry wood is put to soak the day 
before, boiled 1 hr. and strained. In the strained 
liquid, dissolve the alum and when the liquid is milk 
warm, add the Olium. It is all well stirred. The 
wet mordanted yarn is put in and stirred constantly. 
Heat slowly and boil 1 hr. The yarn is left in the 
dye until cold. 

54. Olive Green. 

Yarn. . . 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 5 gr. 

Mulberry 62 gr. 

Tameric Acid 40 gr. 

Madder 13 gr. 

Iron sulphate 3 gr. 

The yarn is mordanted and dyed blue, just as 
is done in birch-leaf dyeing. The mulberry having 
been soaked, is put in a bag and boiled in clear 
water 1 hr. 

Take out the bag and add the tameric. Boil 
before putting in the blue-dyed yarn, which must 
not be cooled too much. When it has boiled 1 hr. 
in the yellowish liquid, it is taken out. The dye is 
cooled with cold water to about 40° C, and the 
soaked madder is added. Put the yarn in again and 
slowly heat to boiling. Boil | hr. 

Dissolve the iron sulphate and add it to the 



198 

cooled liquid, after taking out the yarn. Stir well. 
Put yarn back and boil for j to | hr. Take out im- 
mediately and cool. 

With more madder, the color becomes browner, 
with less, more green. More iron sulphate makes 
it duller. If the madder is omitted, the color be- 
comes a pure green. 

These colors are not durable. In time they be- 
come brown or grayish. 

Violet Dyes 

Violet dyes are compounded of blue and red. 
As a rule, indigo, cochineal and madder are used. 
The colors made by these dye stuffs are fast when 
they are not too light in color. 

With cochineal, the color becomes a pure violet, 
with more or less red according to the proportion of 
blue and red dye. With madder and cochineal, 
the color is more brownish or plum color. The 
depth of the color is much affected by the quality 
of the wool according as it is coarse or fine. The 
latter becomes the darker. 

Light violet dyes become dull and not satis- 
factory in coarse or hard cloth. The finer dye 
shades require soft wool. 

By using different kinds of mordant, violet 
shades may be obtained from the blue dye in log- 
wood. 



These colors are not as pretty or fast as the 
others above mentioned. 

Violet with Cochineal 

For violet, the yarn must first be dyed blue, 
then red. 

The yarn is done in the same manner as for 
green. When the yam has been boiled in the blue 
dye, it is dried without rinsing. 

Cochineal is powdered fine and put to soak the 
day before doing the red dyeing. It is then put in 
clear water, boiled for ten minutes and well skimmed. 
Lay the dry blue-dyed yarn in the boiling dye, turn 
it around quickly so that it gets wet, and boil, 
stirring constantly for the required time; then take 
it out and cool before washing. 

If the color does not seem to be red enough, 
the yarn may be left in the dye until cold. This 
will help with colors which have a very dark blue 
ground. In that case, add a little more soaked 
cochineal and let the yarn boil longer. 

If the color is redder than desired, boil the yarn 
a shorter time in the red dye, but not less than 
half an hour. 

If the foundation blue color is too light, this 
cannot be remedied after the yarn has been in the 
cochineal dye. 



Among the following recipes are many possi- 
bilities by varying the relation between Ohum and 
cochineal. 

55. Dark Black Violet 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 10 gr. 

Cochineal 50 gr. 

Mordant the yarn as usual and dye blue. 
When dry, boil 1 hr. in cochineal dye. 

56. Dark Blue Violet 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 5 gr. 

Cochineal 25 gr. 

Handle as No. 55. 

57. Medium Blue Violet 

Yarn , 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 3 gr. 

Cochineal 15 gr. 

Handle as above but boil | to 1 hr. 

58. Blue Violet 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 50 drops 

Cochineal 5 gr. 

Handle as above. 



199 

59. Light Blue Violet 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

When the yarn has been mordanted, boil for 
I hr. in the after color of No. 56. 

60. Dark Red Violet 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 4 gr. 

Cochineal 40 gr. 

The yarn is mordanted and dyed blue as the 
former have been and is boiled in the red dye \ to 
1 hr. according to the redness required. 

61. Indian Red Violet 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 2 gr. 

Cochineal 20 gr. 

Handle as above. 

62. Bright Red Violet 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 30 drops 

Cochineal 10 gr. 

Handle as above. 

63. Light Red Violet 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

Handle as No. 59 and boil in the red after- 
dye of No. 60 or No. 61. 



200 

Violet with Cochineal or Madder 

When madder is to be used with cochineal for 
red dyeing of violet, both ingredients must be 
soaked separately. 

Cochineal is boiled as usual 10 minutes, and 
the liquid is cooled with cold water and the madder 
is added. 

The dry blue yarn must first be squeezed in 
warm water so that it is wet before it is placed in the 
milk-warm red dye. In this it is heated and kept 
near the boiling point, 80° to 90° C, for 1 hr. 

If the color is wanted more brown, let the yarn 
boil in the red dye. 

64. Very Dark Brown Violet 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 8 gr. 

Cochineal 5 gr. 

Madder 25 gr. 

Mordant the yarn as usual, and dye blue as in 
the case of former blue violet dyes. 

65. Plum Color 

Yarn 250 gr. 

Alum (mordant) 50 gr. 

Olium (blue dye) 3 gr. 

Cochineal 5 gr. 

Madder 20 gr. 

Handle as above described. 



66. Light Brown Violet 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Olium (blue dye) 1 gr. 

Cochineal 2 gr. 

Madder 15 gr. 

Handle as before. 

In all these red after-dyes, many violet shades 
may be dyed according as the liquid is dark or light, 
more or less red or blue. A little of the blue dye 
will always be left in the red dye. 

The yarn for these after-dyes is mordanted as 
usual and is boiled in the cooled red liquid. It may 
also be dyed light blue so that the red becomes the 
chief color. 

67. Blue Violet with Ground Pine 

Yarn 250 gr. 

Ground pine 250 gr. 

Logwood 50 gr. 

Mordant and dye as No. 36. 

68. Blue Violet with Chickweed 

Yarn 250 gr. 

Chickweed 1 pail 

Logwood 30 gr. 

Alum (mordant) 32 gr. 

Mordant and dye as No. 37. 

Brown Dyes 

Brown is obtained by mixing yellow, red and 
black dyestuffs. 



Several brown dyestuffs are found complete in 
certain barks and roots and in a number of lichens. 
From herbs and leaves, brown is seldom obtained. 

To bring out the brown colors, a copper or 
iron salt must often be added to the yellow or red 
dyestuff. When these salts, such as iron or copper 
vitriol, are added, they must be well dissolved and 
the dye must be cooled before the goods is put back 
in the liquid. 

In all dye to which iron or copper vitriol is ad- 
ded, the goods must not lie still after it is through 
boiling. It is best to take it out immediately, cool 
quickly and rinse in clean water until it is washed. 

A dark scum will always form on the dye when 
it cools and this will spot the goods. The same effect 
will be had also if the dye-stuff is allowed to run 
down a part of the goods after being hung up. 

69. Yellow Brown with Bayherry Leaves 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Bayberry leaves (dried) . . . 750 gr. 

The yarn is mordanted and dyed as for yellow 
(see No. 4) and is taken out and 15 to 30 gr. copper 
sulphate is added. Boil the yarn J to 1 hr. 

If a very dark color is desired, let it boil again 
in the same or a new dye. The yarn must be dried 
between each dyeing just as in the heather dyeing. 
This is a very fast color. 



201 

70. Yellow Brown with Alder Bark 

Yarn 250 gr. 

Alum 32 gr. 

Alder bark (dry) 5 kg. 

The yarn is mordanted and dyed like the yellow 
with alder bark (see No. 8). But it is boiled in the 
liquid 1 to 2 hrs. and left until cold. If wanted still 
darker it may be dried and boiled again in new alder 
bark dye. This color darkens in time. 

71. Bronze Brown with Buckthorn Bark. 

Yarn 250 gr. 

Dry bark 500 gr. 

Alum 35 gr. 

Chop the bark fine, soak and boil 3 hrs. To the 
strained liquid, add the alum and when it is dis- 
solved, the dry unmordanted yarn is laid in the 
boiling dye. Boil in this 1 to 2 hrs., and let it 
remain until cold. 

72. Bronze Brown with Walnut Leaves 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Fresh walnut leaves 1 kg. 

Boil leaves 1 hr. and strain. 

The mordanted yarn boils in the dye 1 to 2 
hrs. and is left till cold. 

73. Olive Brown with Juniper Berries 

Yarn 250 gr. 



Mordant 



202 

Alum 32 gr.' 

Cream of tartar 18 gr. I 

Copper sulphate 18 gr. | 

Ammonia chloride 13 gr.J 

Juniper berries 1 to 2 liter 

Copper acetate 16 gr. 

The mordants are dissolved in boiling water and 
stirred. Put in the yarn and boil one hour and leave 
until cold. 

The dry, ripe berries are broken, put to soak 
and boiled one hour in clear water. Put in the 
mordanted yarn and let it boil with the berries 1 to 
2 hrs. and then take out. Strain the liquid and 
add the copper acetate. Boil the yarn again j 
to I hr. 

74. Light Red-Brown with Gray Stone Lichens 

Yarn 250 gr. 

Dry lichens 1 kg. 

Crush fine the lichens and soak over night, and 
then boil in a copper kettle in a reasonable amount 
of water. Boil the uniiiordanted yarn in this | to 
2 hrs. As this dye becomes very thick, the yarn must 
be stirred constantly. The hanks must be hung far 
apart and be well shaken. This color becomes 
clouded easily unless this is done. 

A fast brown color is the result. 

75. Dark Reddish Brown with Stone Lichens 
Yarn 250 gr. 



Lichens 1 to 



Hkg. 



Crush fine the stone lichens and strew well be- 
tween the yarn which is laid in layers with the 
lichens in an iron kettle. The yarn must be well 
covered and some large pieces of lichens placed be- 
tween each layer of yarn. The yarn must be wet 
when laid down. Pour on cold water. Let it soak 
a few hours before boiling. Boil slowly and evenly 
2 to 6 hrs. 

If the yarn is to be very dark, it must be 
treated again with new lichens and in the same man- 
ner. If one has some used madder dye, this may be 
used instead of water. Wool may be dyed in the 
same manner. This is more easily dyed but the 
yarn is apt to be clouded unless one is very careful. 
It must have plenty of room. 

76. Dark Greenish Brown with Tree Lichens or Moss 

Yarn 250 gr. 

Lichens 1 to 1| kg. 

This color is handled as above. 

77. Light Brown with Iceland Moss. 

Yarn 250 gr. 

Moss 250 gr. 

Clean, rinse and chop the moss fine. This is 
placed between the layers of yarn in a kettle. The 
yarn must be well covered with moss. Pour on water 
and boil 1 to 2 hrs., or longer. The yarn may also 
be hung on sticks and boiled with the moss hke the 
light yellow brown with stone lichens. 



78. Dark Brown with Iceland Moss 

Yarn 250 gr. 

Moss 500 to 750 gr. 

Cooking salt 50 gr. 

The moss is handled as above and laid in layers 
with the yarn in an iron kettle. 

Strew the salt between, and pour on water and 
keep warm and boil for 48 hrs. It may stand in an 
oven or on a heating stove. 

Handle afterwards like the other lichen colors. 
If one has not enough lichens, the color may be 
darkened by adding iron sulphate to the dye. But 
the yarn must first be taken out. This brown color 
will be a little more grayish if lichens only are used. 
All these dyes are absolutely fast. 

79. Sandal Brown {Gray Brown) 

Yarn 250 gr. 

Santalic acid 50 gr. 

Madder 50 gr. 

Mulberry 50 gr. 

Oak gall 15 gr. 

Iron sulphate 10 to 15 gr. 

Madder, santalic acid, mulberry and oak gall 
are pounded fine, put in a bag and boiled | hr. The 
yarn is put dry into the liquid and boiled with the 
bag f hr. and then both are taken out. Add the 
iron sulphate and cool, and then boil the yarn 5 to 
10 minutes. 

If wanted darker, use more iron sulphate. 



203 

80. Dark Red-Brown with Madder 

Yarn 250 gr. 

r^ 'rl"/ ia f Mordant 

Cream oi tartar 16 gr.j 

Madder 125 gr. 

Oak gall 12 gr. 

Iron sulphate 10 gr. 

Mordant the yarn as usual 1 hr. Put the soaked 
madder in clear water. When the liquid is milk 
warm, add the wet mordanted yarn, heat and boil, 
keeping in even motion I hour and then take out. 
Add the crushed oak galls and stir. Boil the yarn 
in this I hr. Take out, add iron sulphate, cool a little 
and put yarn back. Boil, stirring evenly for | hr. 

Gray Dyes 

All plants that contain tannic acid, will make 
gray dyes. 

Many kinds of bark contain much tannic acid 
from which, by adding iron salts, gray to black dyes 
may be obtained. 

Boil the plants and the material first in this 
dye, which will give it a yellow, red or greenish color. 
Remove the goods and add the iron sulphate, which 
will change the color to gray. This gray will always 
have a tone of the foundation color which the plant 
alone gives; but the more iron sulphate that is added, 
the darker and more gray the color will become. 

It is necessary always to maintain accurate 
proportions between the strength of the dye and the 



204 

amount of iron sulphate. In a weak dye, a dark gray 
dye cannot be obtained, however much iron sulphate 
is added. 

81. Gray Brown with Alder Bark 

Yarn 250 gr. 

Alum (mordant) 32 gr. 

Alder bark 4 kg. 

Iron sulphate 10 to 30 gr. 

Mordant the yarn and dye yellow with alder 

bark, as in No. 17. When it has boiled one hour in 

the alder bark, add the iron sulphate (see No. 

54) and boil the yarn again \to\ hour. 

82. Gray Violet with Birch Bark 

Yarn 250 gr. 

Dry birchbark 600 gr. 

Iron sulphate 10 to 20 gr. 

The bark is put to soak the day previous and is 
boiled 1 hr. Strain and boil the unmordanted yarn 
in the liquid 1 hr. Add the iron sulphate and boil 
the yarn f hr. 

83. Gray Reddish with Mountain Ash Bark 

Yarn 250 gr. 

Alum (mordant) 40 gr. 

Dry bark 2 kg. 

Iron sulphate 30 to 50 gr. 

Boil the bark 1 to 2 hrs. — strain. Boil yarn in 
this dye 1 hr. Add iron sulphate and treat as 
described in No. 54. 



84. Blue Gray with Kinnikinnic 

Yarn 250 gr. 

Kinnikinnic . 1 to 2 kg. 

Iron sulphate 5 to 20 gr. 

The yarn is mordanted and dyed as for yellow 
(see No. 16). When boiled, add iron sulphate and 
boil yarn J to 



^hr. 



85 



Mordant 



Green Gray with Lady's Mantle 

Yarn 250 gr. 

Alum 260 gr.' 

Cream of tartar 16 gr. ► 

Fresh lady's mantle . . .| to 1 kg. 
Iron sulphate 5 to 30 gr. 

The yarn is mordanted as usual. 

Boil the lady's mantle 1 hr. and strain. Boil 
the mordanted yarn in this liquid 1 hr. Remove 
this. Add the iron sulphate. Boil the yarn in the 
liquid until the color is dark enough. 

86. Green Gray with Sorrel 

Yarn 250 gr. 

When in the sorrel dye, yarn has been dyed 
black (see No. 89); from the after-dye one can get 
a gray green after color. The wet unmordanted 
yarn is boiled ^ to 1 hour or longer in this hquid. The 
liquid may easily stand 1 to 2 days in an iron kettle. 

87. Gray with Sumac 

Yarn 250 gr. 

Mulberry wood 10 gr. 

Sumac 25 gr. 



Oak gall 10 gr. 

Iron sulphate 10 gr. 

The mulberry wood, which has been soaked, is 
boiled ^ hr., and then the sumac and oak gall are 
added and boiled. The yarn is placed dry in the 
boiling dye, and boiled ^ to 1 hr. Iron sulphate as 
usual is added (see No. 54) and the yarn is again 
well boiled. 

88. Light Gray. 

Yarn '. . . . 250 gr. 

Oak gall 3 gr. 

Mulberry wood 11 g^- 

Madder I g^"- 

Iron sulphate 3 gr. 

The oak gall, mulberry wood, and madder is 
boiled \ hr. The dry, unmordanted yarn is put in 
the boiling dye and boiled ^ hr. The yarn is taken 
out and the iron sulphate added. The yarn is again 
put back and boiled | hr. 

By taking more or less of the different dye- 
stuffs, the color will have a yellowish, reddish or 
violet tone. More iron sulphate darkens it. 

Black Dyes 

Black dyes can, like the gray, be made with 
the aid of iron salts from the plants containing tan- 
nic acid. But they can also be obtained from the 
blue dye-stuff in logwood. This latter is now most 
generally used. Although the dye-stuff in logwood is 



205 

blue, black may be obtained from it by using different 
sorts of mordants. In order that the black shall not 
be too bluish, a httle yellow dye should be added to 
the logwood. 

For black dyes, an iron kettle is best. Untinned 
copper may be used, but not tinned copper kettles. 

Logwood is always put in a bag to be boiled 
and, to save time, the goods may be boiled at the 
same time as the bag. But it must have plenty of 
room in the kettle. 

Goods dyed black must be dried immediately 
after dyeing and then washed well in strong soap 
water and rinsed in clean water until it is absolutely 
clear. When the black dyes are well boiled and 
properly handled, they do not crock, but are abso- 
lutely fast. 

89. Black with Sorrel 

Yarn 250 gr. 

Fresh sorrel 1 to 1| kg. 

Logwood 175 gr. 

Birch ashes 250 gr. 

Boil the sorrel 1 to 2 hrs. in a clean scrubbed 
iron kettle. Strain, scour the kettle before putting 
the dye back. In this the wet unmordanted yarn is 
boiled 2 hrs. and lies in the liquid until cold. The 
yarn should be a dark gray green. Put to soak the 
logwood, the daj^ before dyeing, and boil in clear 
water 2 hrs. and take the bag out. 



206 



The mordanted yarn which has been squeezed 
out of the sorrel dye and rinsed in lukewarm water 
is put in the logwood liquid and boiled 2 hrs. When 
the logwood dye is nearly cold, it is mixed with 1 to 
2 liter of lye which is made by pouring boiling water 
on the birch ashes, stirred and let stand till cold 
and clear. Let the yarn lie in this lye for 12 hrs. 
and then dry. Wash later. 

Further Use of Used Dye Liquids 

When yellow or red dyes have been made, the 
after liquid will always contain enough dye so that 
they may be used again to dye woolens and cotton 
goods — goods that do not require a decided color. 
These after-dyes are more or less fast, but are very 
pretty. The most are fast as regards washing and 
can be used for articles that are not much exposed 
to sunshine. 

The goods is mordanted and is handled the 
same as previously described. If one is dyeing rags 
and such common things, the mordant, if it be alum 
or cream of tartar, may be put in the after-dye direct. 

Yellow After-Dyes 

Different yellow after-dyes may be mixed to- 
gether and the alum added at once. With after-dye 
of heather, cotton and linen may both be dyed yel- 
low. This is a pretty color for the warp in simple 
rugs and carpets. 



In the after-dye of ground pine, wool and cot- 
ton may be dyed. If they be re-boiled in used log- 
wood dye, a good blue gray color is obtained both in 
wool and cotton. It may be used for warp and car- 
pet rags. 

Red After-Dyes 

Madder dye may be used to the last drop. . 
Wool, rags and cotton yarn may be dyed in it. It 
must boil and the goods will become a light brownish 
red. Cotton and linen dye very light and fade in 
the sun, but the color is very pretty and may be 
used for warp where white is not wanted. The after- 
dye may also be used as the foundation color for 
darker red and brown shades. A little dye-stuff may 
be saved for this. 

Cochineal dye may be used until there is only 
the clear water left. The light red almost color- 
less dye makes pretty light tints for old pure wool, 
white dresses and blouses, and a large amount of 
woolen sweater yarn may be dyed light red in such 
liquid. 

If salmon color is desired, a tin solution is 
added, and the clean dry goods is allowed to boil in 
the liquid i to | hr. The amount of tin solution is 
regulated by the weight of the goods. For 250 gr. 
goods use 50 to 100 gr. prepared clear yellow tin 
solution. 



207 



If a more bluish red is wanted, mordant the 
goods first in alum and then boil without the tin. 
Madder and cochineal dyes may be mixed. 

Blue After-Dyes 

Indigo gives no after-dyes, as the goods always 
draws all the color into itself. In logwood dye, how- 
ever, light gray blue after-dye is found. 

Violet After-Dyes 

The same is true of these dyes, as for the red 
after-dyes, where madder or cochineal has been used. 

Green After-Dyes 

Green after-dyes are not worth while using. 
They only give a dirty, undecided color. 

Brown gray and black after-dyes will give 
lighter shades. The gray after-dyes may be quite 
dainty and pretty. 

From black logwood after-dyes, gray blue is 
obtained. 

Dyeing of Old Goods 

If one wishes to dye old, faded goods, this must 
first be well washed and then boiled | hr. in soda 
water (which must not be strong enough to injure 
the goods) so that as much of the original dye is re- 
moved as possible. Then rinse it well. After that 
handle as the white. 

When old goods is to be dyed, a darker color 
than the original must be chosen. For success 



a great deal depends on the foundation color, as the 
new must be dark enough to cover the old. 

Only pale yellow or pink may be dyed yellow. 

Pale yellow, pale violet, fight gray, fight brown, 
very pale green and red may be dyed red. 

Pale yellow, pale green, violet, blue gray and 
light brown may be dyed blue. With ground pine 
and chickweed dyes, pretty blues may be obtained. 

Blue and red may be dyed violet. 

All other light colors may be dyed brown. 

All colors, light or dark may be dyed black. 

It must be understood that with re-dyeing, the 
new color, unless it is very light, will always have a 
tone of the old ground color. 

Unless one knows what dyes were used original- 
ly, it is best to dye a sample especially if the goods 
be of value, as the result may prove to be a different 
color than the one planned for. The old color is 
dissolved, so to say, by the new, and forms an 
entirely new compound. 

Bleaching of Woolen Goods 

No matter how well woolen goods is washed 
and the fats removed, it will never be perfectly 
white. If one wishes chalk white yarn or woolen 
cloth, it must be bleached. A peculiar odor will be 
noticed from these goods if boiling water be poured 
over them. 



14 



208 

In the bleaching of woolen goods sulphur is 
used. This bleaching may easily be done at home 
by using sulphur in a tightly closed room where 
damp woolen goods has been hung. 

For bleaching, a large tight box or barrel with 
cover may be used. On one side, and quite near the 
floor, cut out a piece large enough to admit a fairly 
good sized iron kettle. The hole must be provided 
with a cover. At the top of the barrel or box, on 
the inside, strips of wood must be nailed on which 
the stick, holding the yarn, may be rested; Some- 
times the wool is hung from a large spool or placed 
loosely in a net. 

After the yarn has been throughly washed and 
rinsed it is allowed to dry enough so that the water 
does not drop from it. It must be evenly wet, 
without dry spots. It is hung in the barrel or box, 
and the top is well covered. 

Glowing charcoal is placed in the iron kettle 
or dish. A handful of coarsely powdered sulphur 
is placed on the glowing coals and the opening is 
quickly closed. 

There must be a large enough opening near the 
bottom to allow draft enough to burn the sulphur. 



The yarn or other goods is left in the box or barrel 
about 12 hrs. If it is white enough, it is rinsed in 
cold water and dried. If not, bleach again. Care 
should be taken not to hang the goods too near the 
kettle. 

It is not necessary to bleach woolen goods to be 
dyed with plants. As a rule it is not done, but if 
one does not object to the work, certain light, 
dainty colors become cleaner when bleached, but 
some are duller and not as pretty as when using 
the bleached yarn. 

Hand Measures 

25 gr. soda — 1 handful. 
100 gr. greensoap — 1 heaping wood spoon. 
25 gr. madder — 1 " tablespoon. 

20 gr. mulberry — 1 
15 gr. logwood — 1 
20 gr. cochineal — 1 
8 gr. pulverized alum — 1 heaping teaspoon. 
8 gr. coarsely powdered cream of tartar — 1 

heaping tablespoon. 
12 gr. coarsely powdered potassium chromate 

— 1 heaping teaspoon. 
10 gr. iron sulphate — 1 heaping teaspoon. 
10 gr. coarsely pounded copper sulphate — 1 

heaping teaspoon. 
1 gr. olium — 5 drops. 



C( 



li 



a 



I 



INDEX 



Abbreviations : ( w . 

Adaptations of borders, 52 

Adaptations of patterns, 51 

After-dye liquids, 206 

After-dyes, yellow, 206; red, 206; blue, 207; 

violet, 207; green, 207 
Alternate method of treadling for rug weaving, 

161 
Alternate method of warping with four threads, 

16 

Beaming, 20 

Beams, for double weaving, (ill.), 164 

Big Diamond pattern, (dr.), 60; (pat.), 61 

Black Dyes, 205 

Bleaching woolen goods, 207 

Block Work pattern, 66 

Blooming Flower pattern, 78 

Blue Dyes, 191, 193 

Bobbin winder, 37 

Bonaparte's March pattern, 76 

Borders, 76 

Border weaving in double or Damask weave, 

164; (dr.), 165 
Borders, adaptations of, 52 
Braddock's Defeat, 91 
Brown Dyes, 200, 203; after Dyes, 207 

Canvas, Danish pattern, 105 

Chariot Wheel pattern, 68 

Checked paper, 51 

Cloth Beam, 34 

Cloth, construction of, 8 

Colonial, patterns, 59; double weaves, 162 

Color, introducing of, 43 

Consti-uction of plain cloth, 8 

Counterpane, 69, 84, 85 

Crosses, securing of, in warping 12 

Cross pattern, 93 

Curtain, 70, 84 

Damask weave, 151 
Damask weave Danish pattern, 165 
Danish and Norwegian patterns, 101 
Danish loom, 175; (w. d.), 176, 177 



d.), working drawing; (ill.), illustration; (pat.), pattern; (dr.), draft. 
Danish method of writing draft for double 



Damask weave, 165 

Danish patterns, 101 

Diagonal weave for eight-harness Damask 
weave, 157 

Diagonal weave in three-harness Swedish pat- 
tern, 114 

Dog Tracks pattern, 96 

Doors and Windows pattern, 87 

Double Bow Knot, (dr.), 94; (pat.), 95 

Double Chariot Wheel pattern, 88 

Double Snowball, (dr.), 63; (pat.), 64; adapta- 
tions, 64 

Double tie-up for double Damask weave, 164; 
Danish way of writing draft, 165 

Double weaving, 162; beams for, (ill.), 164 

Draft, Danish, 101; reading 59 

Dyeing old goods, 207 

Dyeing utensils, 183 

Dyes, yellow, 184; red, 185; blue, 191; green, 
193; violet, 198; violet with cochineal, 
198; brown, 200; gray, 203; black, 205 

Dyes and Dyeing, 183 

Eight-harness and eight-treadle Damask weave, 

154 
Eight-harness Damask weave, 153 
Eight-harness Damask weave, Danish draft, 165 
Eight-harness Damask weave, diagonal, 157 
Eight-harness loom, 124 
Eight-harness Swedish pattern, 115 

Federal Knot pattern, (dr.), 79; (pat.), SO 

Fine threads, use of, 56 

Five-and-six-harness Danish pattern, 105 

Five-harness Swedish pattern, 113 

Foot Stool, textile and wood, 166; (w. d.), 167; 

(ill.), 168 
Formulae for dyeing, 184 
Four-harness cotton table mat, (dr.), 158; 

(pat.), 159 
Four-harness Danish pattern, 101 
Four-treadle loom, 118 
Four Wheels, 95 



Fox Trail pattern, 87 

Goose Eye Danish pattern, 104 

Governor's Garden pattern, 72; (dr.), 74 

Gray Dyes, 203, 205; after dyes, 207 

Green Dyes, 193, 198 

Guess Me pattern, 97 

Hand measures, 208 

Harness, 32 

Heddle frames, 116 

Heddle horses, 32: (w. d.), 33 

Heddle sticks, 26 

Heddle sticks, tying of, 33; (w. d.), 34, 48 

Heddles, threading of, 27 

Heddles, knotting of, 25 

Heddles, wire, 116 

Holding the warp, 23 

Honey Comb Swedish weave, 110 

Indiana Frame Rose pattern, 90 

Introducing color, 43 

Irish Chain pattern, 82 

Irregular threading in Swedish patterns. 

Keeping account of threads warped, 16 
King's Flower pattern, 92 
Knotting the heddles, 25 

Lambs, 57 
Laying in sticks, 24 
Lease, 10 
Lease rods, 25 
Leopard Skin pattern, 86 
Linen draft, 157 
Longitudinal threads, 8 
Long warp, preparing of, 10 
Loom, parts of, 9: (ill.), 21 
Loom, power, 7 
Loom, simple hand, 9 
Loom, threading of, 26 
Loom, tying of, 31 
Loom, eight-harness, 124 
Loom, four-treadle, 118 
Loom, six-harness, 121 
Loom, six-treadle, 105 



110 



209 



210 



INDEX— Continued 



Looms, 175 

Looms, Danish, 175; (w. d.), 176, 177, 178 

Looms, Swedish, 179; (w. d.), 180, 181, 182 

Mordant. 184 

Nine Snowballs, 82 
Nine Wheels, 82 
Norwegian patterns, 106 

Old Irish Quilt pattern, 93 
Old Quilt pattern, 85; (dr.), 86 
Olium, 190 
Orange Peel pattern, 71; (dr.), 72 

Paddle, construction of warping, 17; (w. d.), 18 
Paddle, use of, 18 
Parson's Beauty pattern, 91 
Patterns, adaptations of, 51 
Patterns, Colonial, 59 

Big Diamond, (dr.), 60; (pat.), 61 

Block Work, 66 

Blooming Flower, 78 

Bonaparte's March, 76 

Braddock's Defeat, 91 

Chariot Wheel, 68 

Cross, 93 

Dog Tracks, 96 

Doors and Windows, 87 

Double Bow Knot, (dr.), 94; (pat.), 95 

Double Chariot Wheel, 88 

Double Snowball, (dr.), 63; (pat.), 64, 
adaptation 64 

Federal Knot, 80; (dr.), 79 

Four Wheels, 95 

Fox Trail, 87 

Guess Me, 97 

Governor's Garden, 72; (dr.), 74 

Indiana Frame Rose, 90 

Irish Chain, 82 

King's Flower, 92 

Leopard Skin, 86 

Old Irish Quilt, 93 

Old Quilt, 85; (dr.), 86 

Orange Peel, 71; (dr.), 72 

Parson's Beauty, 91 

Pine Knot, 79 

Platform, 97 

Queen's DeUght, 92 



Rings and Chains, 83 

Rose Path, 53 

Scarlet Balls, 88 

Sea Star, 89 

Snail's Trail and Cat's Paw, 77 

Virginian Snowball, 96 

Wheel of Fortune, 81 

Whig Rose, 99; (dr.), 100 

White House, 89 

Wind Flower, (dr.), 98; (pat.), 99 

Window Sash, 90 
Patterns, Damask, 151 

Danish, draft, 165 

Danish draft, eight-harness, 165 

diagonal, eight-harness, 157 

eight-harness, 153 

eight-harness and eight-treadle, 154 

Sea Shell, 163; (dr.), 162 

ten-harness, 151 

rug, alternate stripes, 161 

rug, six-harness, 161 

table mat, 159; (dr.), 158 

table mat, four-harness, 159; (dr.), 158 
Patterns, Danish, 101 

Norwegian, 101 

canvas, 105 

five-and-six-harness, 105 

four-harness, 101 

Goose Eye, 105 

two-harness, 101 
Patterns, Norwegian, 106 
Patterns, Swedish, 107 

diagonal weave, three-harness, 114 

eight-harness, 115 

five-harness, 113 

Foot Stool, 166; (w. d.), 167; (ill.), 168 

four-harness threading, 108 

four-harness, 113 

Goose Eye, 112 

Honev Comb, 110 

Rose Path, 111 

six-harness, 113, 120 

six-treadle, threading, 108 

three-harness, 113 

tie-up with sets of lambs, 116 

tie-up for seven harnesses, 114 

two-harness, 107 

two-treadle or four-treadle draft, 107 

Textile and Wood, 166 



Pattern weaving, 44 

Pattern weaving, threading of, 46 

Pegs, 11 

Pillow Tops, 67, 68, 73, 75 

Pine Knot pattern, 79 

Placing beams for cotton and wool weaving, 163; 

(w. d.), 164 
Placing the reed, 30 
Plaids, weaving of, 44 
Platform pattern, 97 
Power loom, 7 
Preparing a long warp, 10 

Queen's Delight, 92 

Raddle 20; (w. d.), 22 

Rag Rugs, 43 

Reading a draft, 59 : Danish, 101 

Red Dyes, 185, 190; after dyes, 206 

Reed hooks, 30 

Reed, the, 27 

Reed, threading of, 29, 47 

Reel, 16 

Reel, warping, 13; (w. d.), 14 

Reels, 42; (ill.), 40; (w. d.), 41 

Removing warp from reel, 17 

Rings and Chains pattern, 83 

Rose Path pattern, 53 

Rose Path Swedish pattern. 111 

Rug, wool, 159, 161 

six-harness pattern. 160 
Rugs, weaving of, 43 

Scarlet Balls pattern, 88 

Screen, textile and wood, 168; (w. d.), 171; 

(ill.), 172, 170; (w. d.), 173; (ill.), 174 
Sea Shell, (dr.), 162; (pat.), 163 
Sea Star pattern, 89 
SeJvage, 47 

Sewing Basket, textile and wood, 170 
Shed, 35 

Shuttle, 36; (w. d), 37 
Shuttle stick, 36 
Simple loom, 9 
Six-harness loom, 121 
Six-harness Sea Shell pattern, (dr.), 162; (pat.), 

163 
Six-harness Swedish pattern, 113, 120 
Six-harness wool rug pattern, 160 



Six-treadle loom, 105 

Snail's Trail and Cat's Paw Pattern, 77 

Spool rack, 15 

Starting threads on the reel, 15 

Swedish draft of Goose Eye pattern, 112 

Swedish loom, 178; (w. d.), 179, 180, 181, 182 

Swedish weaving, 107 

Stool, foot, 166; (w. d.), 167; (ill.), 168 

Table mat, cotton, (dr.), 158; (pat.), 159 

Table Runner, 65, 67 

Taking off the warp, 12 

Temple, 38; (w. d.), 39 

Ten-harness Damask weave, 151 

Textiles and Wood, 166 

Threading a four-harness Swedish pattern, 108 

Threading a six-treadle Swedish pattern, 108 

Threading a two-harness Swedish pattern, 107 

Threading damask weave, 152 

Threading for eight-harness double weave, 163 

Threading for pattern weaving, 46 

Threading for Rose Path pattern, 54 

Threading for ten-harness Damask weave, 156 

Threading the heddles, 27 

Threading the loom, 26 

Threading the reed, 29, 47 



INDEX— Concluded 

Three-harness Swedish pattern, 113 
Three-harness Swedish pattern, diagonal weave, 

114 
Tie-up damask weave, 152; eight-harness, 154; 

double weave, 164 
Tie-up for seven-harness Swedish weave, 114 
Tie-up pulley, 152 

Tie-up with sets of lambs, 116; double, 164 
Turning on, 20 

Two-harness Danish pattern, 101 
Two-harness Swedish pattern, 107 
Two-treadle or four-treadle Swedish draft, 107 
Tying heddle sticks for pattern weaving, 48 
Tying heddle sticks to treadles, 33; (w. d.), 34 
T3dng the loom, 31 

Utensils, for dyeing, 183 
Upholstering, suggestions for, 166-168 

Violet Dyes, 198, 200; after dyes, 207 
Virginian Snowball, 96 

Warp, 8 

Warp, distribution of, 24; (ill.), 25 

Warp, holding of, 23 

Warp, removing from reel, 17; from board, 12 



211 



Warp spreader, 20; (w. d.), 22 

Warp stand, 24 

Warp, taking off, 12 

Warping, alternate, 16 

Warping a number of threads at once, 16, 17 

Warping board, construction of, 10 

Warping board, use of, 11 

Warping reel, 13; (w. d.), 14 

Warping Threads, keeping count of, 16 

Waste Basket, textile and wood, 168; (ill.), 168; 

(w. d.), 169 
Weaving a border, 50 
Weaving a pattern, 49 
Weaving, double, 162 
Weaving of plaids, 44 
Weaving of rag rugs, 43 
Wheel of Fortune pattern, 81 
Whig Rose pattern, 99; (dr.), 100 
White House pattern, 89 
Wind Flower pattern, 99; (dr.), 98 
Window Sash pattern, 90 
Woof, 9 

Wool, washing of, 183 
Wood and Textiles, 166 

Yellow Dyes, 184, 185; after dyes, 206 



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